yeah this is pretty nice already. good job on that ayzon
took a look at the samples and started messing around a bit, it's going in a real trippy direction for me so far and i might start all over but this is definitely gonna be interesting haha
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NEOGAF's Official Music Production Thread: calling all producers
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yeah this is pretty nice already. good job on that ayzon
took a look at the samples and started messing around a bit, it's going in a real trippy direction for me so far and i might start all over but this is definitely gonna be interesting haha
if any of you guys make loop based stuff based on samples and manipulation, hmuuuuu maybe we can work on stuff together.
heres a link to my soundcloud: https://soundcloud.com/cokeoutfit
be warned tho, i make some grating stuff, so if youre not into experimental stuff, dont click!
heres a link to my soundcloud: https://soundcloud.com/cokeoutfit
be warned tho, i make some grating stuff, so if youre not into experimental stuff, dont click!
if any of you guys make loop based stuff based on samples and manipulation, hmuuuuu maybe we can work on stuff together.
heres a link to my soundcloud: https://soundcloud.com/cokeoutfit
be warned tho, i make some grating stuff, so if youre not into experimental stuff, dont click!
smooth. i like what i heard, sunshine and confessions are cool
noticed that your stuff is pretty loud. are you working some limiter magic or just don't care when it goes over 0 db? lol
thanks, i never cared casue i have to jack it up on whatever i listen to music to anyway. my only concern against going over 0db is clipping, but i can never tell ( i usually use my laptop speakers or car speakers to listen to stuff)
putting it up and down isnt a big deal, but i usually let my tracks go over for my own personal use
but it something to improve upon, so thanks!Korg Minilogue mini review
So I bought another synth starting with the word Mini. Minitaur, Minibrute, now the Minilogue. Wtf synth industry get an imagination.
I think one of the pitfalls for new producers, and I certainly fell into this, is the reputation of 'analog' as some holy grail of synth sound, so what did I do when I first started? I went out and bought synths that sounded analog as fuck. Synths like the MS20, the Minibrute, my old Plan B/Bubblesound eurorack are balls to the wall analog. Bubbling, screaming filters with fat full-range VCOs. They sound amazing on their own, so you record them...
...and then you spend the next hour compressing and eqing the shit out of them just to get them to sit nicely in a mix with other sounds.
The Korg Minilogue does not sound analog as fuck, lets get that out of the way first up. This probably won't give you goosebumps or make you fistbump your main colab or blow your windows out.
On the other hand as soon as you start turning some of the knobs to their extremes, it's unmistakenly analog. Unlike most VSTs you'll be hard pressed to make the sound go to shit with extreme settings.
It has a great, immediate UI. Very well designed, only a handful of patch params hidden in the menu.
It has a relatively low master output but a very clean signal so it loooves having effects stacked on top of it, it eats them up. I had a patch last night with heaps of gain makeup from The Glue, a slilght kick in the midrange with Sausage Fattener, some stereo separation with Ubermod and then into Valhalla Room (Nostromo reverb!) and it sounded like magic.
Genre wise it leans heavily towards classic house - almost full Detroit style. It does wicked pads and house chords and clean bouncy basses. Out of all the hardware synths I've tried this one is the most geared toward house music, with maybe my DSI Tetra a close second. Again, that's classic house, think Kerri Chandler. It'd be great for some classic techno sounds too ala Dave Angel. This isn't really an EDM machine though but if you're in the market for a polite but juicy synth for making sweet, sweet house music give this a look.
I'll check up some sound demos tonight.
So I bought another synth starting with the word Mini. Minitaur, Minibrute, now the Minilogue. Wtf synth industry get an imagination.
I think one of the pitfalls for new producers, and I certainly fell into this, is the reputation of 'analog' as some holy grail of synth sound, so what did I do when I first started? I went out and bought synths that sounded analog as fuck. Synths like the MS20, the Minibrute, my old Plan B/Bubblesound eurorack are balls to the wall analog. Bubbling, screaming filters with fat full-range VCOs. They sound amazing on their own, so you record them...
...and then you spend the next hour compressing and eqing the shit out of them just to get them to sit nicely in a mix with other sounds.
The Korg Minilogue does not sound analog as fuck, lets get that out of the way first up. This probably won't give you goosebumps or make you fistbump your main colab or blow your windows out.
On the other hand as soon as you start turning some of the knobs to their extremes, it's unmistakenly analog. Unlike most VSTs you'll be hard pressed to make the sound go to shit with extreme settings.
It has a great, immediate UI. Very well designed, only a handful of patch params hidden in the menu.
It has a relatively low master output but a very clean signal so it loooves having effects stacked on top of it, it eats them up. I had a patch last night with heaps of gain makeup from The Glue, a slilght kick in the midrange with Sausage Fattener, some stereo separation with Ubermod and then into Valhalla Room (Nostromo reverb!) and it sounded like magic.
Genre wise it leans heavily towards classic house - almost full Detroit style. It does wicked pads and house chords and clean bouncy basses. Out of all the hardware synths I've tried this one is the most geared toward house music, with maybe my DSI Tetra a close second. Again, that's classic house, think Kerri Chandler. It'd be great for some classic techno sounds too ala Dave Angel. This isn't really an EDM machine though but if you're in the market for a polite but juicy synth for making sweet, sweet house music give this a look.
I'll check up some sound demos tonight.
yeah this is pretty nice already. good job on that ayzon
took a look at the samples and started messing around a bit, it's going in a real trippy direction for me so far and i might start all over but this is definitely gonna be interesting haha
Thanks, glad you like it.
When I first heard the samples I had no idea what I would want to do, I just picked every sample and threw it in my playlist and tried to make them work together somehow.
I tried hard not to think too much about it and just went with the first thing that came to my mind.
I don't that much about Synthesizers, especially not hardware ones, but its always interesting reading about it, thanks for sharing.
By the way, is it normal that your post is showing me a symbol at the end of it? Kinda looks like you posted a picture but it doesn't show up or something.
InaudibleWhispa
Member
Thanks, glad you like it.
When I first heard the samples I had no idea what I would want to do, I just picked every sample and threw it in my playlist and tried to make them work together somehow.
I tried hard not to think too much about it and just went with the first thing that came to my mind.
You did a good job, made a lot of disparate sounds work well together. I made a song using the samples a couple of days ago, sent it in. Has quite a trip-hop/portishead vibe. It's really interesting when you've made a song to go listen to another one using the same samples and see how they approached it completely differently.
Nope, not normal, my screenshot was just busted. Thx for the headsup, should be fixed now.
Icyflamez96
Member
I started playing around with the samples and then realized that I don't know how to use samples like those as well as I thought I did.
I'll probably take that as an opportunity to learn how to manipulate them how I would like to, but I got caught up with another project https://soundcloud.com/lethal-input/jump/s-f1Kfh
I'll probably take that as an opportunity to learn how to manipulate them how I would like to, but I got caught up with another project https://soundcloud.com/lethal-input/jump/s-f1Kfh
first thing that popped into my mind was "this could be a level 2 DJ MAX song" lol.
listened to your other stuff too and i like it. any chance you play a lot of rhythm games? because your tracks kinda give off that vibe to me
You should probably stay away from the audio jack from your standard on-board audio to begin with (be it laptop or desktop). Look for a decent DAC or a music interface.
Icyflamez96
Member
first thing that popped into my mind was "this could be a level 2 DJ MAX song" lol.
listened to your other stuff too and i like it. any chance you play a lot of rhythm games? because your tracks kinda give off that vibe to me
Not big on those actually. I only play them sometimes when I go to the arcade with my friends, but I couldn't even tell you what they're called.
Oh and Guitar Hero back in the day of course
In this regard, i love my Phatties, they don't need too much processing to fit into a mix, but they can cut right through it at the same time.
FloatingDivider
Member
Holy fuckballs, help guys, why is mixing & mastering so hard? I have no fucking idea what I'm doing, I'm just tweaking knobs and shit but I don't even know what I'm aiming for. I've got like 3 references for different sections of my track but even then this is like trying to play basketball in the dark. I mean I think the track sounds good but it's clearly not even in the same loudness ballpark as professional shit and I've got way too much dynamic range between the ambientish parts and the droppy parts. I can't turn up the volume of the ambientish parts though because they're in that 1k to 3k hz region so if I turn it up it just feels super fucking loud and makes the drop feel super quiet.
I want more reverb but it becomes muddy so I'm sitting here trying to sidechain reverb like some sort of sperg and who the fuck enjoys this shit. The vocals sound good but have harsh s's, so I de-ess but then the top end sounds muddy so I add top end, but then the s sounds harsh again, who enjoys this torture? I've also listened to the track like 20 million times at this point, I'm not even sure I enjoy it anymore, which sucks because I thought it was dope while making it. Don't even get me started on making the entire thing loud, I can't smash a limiter and keep it sounding clean, I mean I check the references and it's obvious they're smashing into something to get it loud but fuck knows what that is. I'm experimenting with clipping options on limiters now to see if I can just clip and be loud but not distort the 808's but it just seems to fuck up my entire mix. I hope I manage to get to a point where it'd be sensible to pay someone else to do this for me, because this is so not my jam.
Fake edit:
3 hours after I started writing this post in frustration. I can't hear shit anymore, but I think I have a decent master. Not a good one, but just like a barely passable one. Although I'm expecting my opinion to be radically different in the morning.
Also I checked out the samples, I'll totally enter something but it might sucks balls because I'm not about that 100% sample based workflow, I enjoy my synth and vsti stuff. Still hoping for a rule change in the future that would allow people not comfortable with spending hours manipulating samples to enter non shitty things.
I want more reverb but it becomes muddy so I'm sitting here trying to sidechain reverb like some sort of sperg and who the fuck enjoys this shit. The vocals sound good but have harsh s's, so I de-ess but then the top end sounds muddy so I add top end, but then the s sounds harsh again, who enjoys this torture? I've also listened to the track like 20 million times at this point, I'm not even sure I enjoy it anymore, which sucks because I thought it was dope while making it. Don't even get me started on making the entire thing loud, I can't smash a limiter and keep it sounding clean, I mean I check the references and it's obvious they're smashing into something to get it loud but fuck knows what that is. I'm experimenting with clipping options on limiters now to see if I can just clip and be loud but not distort the 808's but it just seems to fuck up my entire mix. I hope I manage to get to a point where it'd be sensible to pay someone else to do this for me, because this is so not my jam.
Fake edit:
3 hours after I started writing this post in frustration. I can't hear shit anymore, but I think I have a decent master. Not a good one, but just like a barely passable one. Although I'm expecting my opinion to be radically different in the morning.
Also I checked out the samples, I'll totally enter something but it might sucks balls because I'm not about that 100% sample based workflow, I enjoy my synth and vsti stuff. Still hoping for a rule change in the future that would allow people not comfortable with spending hours manipulating samples to enter non shitty things.
Mixing is heavily intertwined with the arrangement. If the arrangement is not solid, then it makes for a poor mixing foundation and anything you do with the mixing is more akin to sweeping the problem under the rug. When the kneejerk reaction might be to whip out the EQ, the problem might be better solved by removing some specific note from a chord or something where things sound muddy.
Mastering... I pretty much view as astrology at this point. I don't believe in it. I mix until it sounds the way I want it to, and that's that. But then, I also don't care about the loudness war either and prefer to retain healthy dynamics and minimal distortion in my material. If "professionals" want their productions to sound completely botched, then that's their pregorative. The gains in average loudness are ultimately going to be a pretty hollow "victory" as well as loudness normalization standards are being adopted across music services globally, which pre-analyzes and gain adjusts tracks to have the same average loudness no matter how compressed they are.
Mastering... I pretty much view as astrology at this point. I don't believe in it. I mix until it sounds the way I want it to, and that's that. But then, I also don't care about the loudness war either and prefer to retain healthy dynamics and minimal distortion in my material. If "professionals" want their productions to sound completely botched, then that's their pregorative. The gains in average loudness are ultimately going to be a pretty hollow "victory" as well as loudness normalization standards are being adopted across music services globally, which pre-analyzes and gain adjusts tracks to have the same average loudness no matter how compressed they are.
InaudibleWhispa
Member
Resting your ears for the night is always beneficial. Though it sometimes has the opposite effect where I think I've nailed it then the next morning I think it's garbage.
In my experience, mixing takes years and years of practice to get better at. I've been at it for about 15 years now and only feel moderately competent at my mixing skills now.
And resting your ears and coming back to the mix the next day (or even a week later) can really help you to gain fresh perspective on your mix.
And resting your ears and coming back to the mix the next day (or even a week later) can really help you to gain fresh perspective on your mix.
Kwansu Dudes
Member
I don't know how the hell bedroom producers learn how to mix so god damn well and would love to pick at one of their brains. I've read a ton of material and they tell you WHAT to do but never say WHY or go in depth. Honestly feels like high school where teachers are teaching to do well on a test instead of trying to make you understand it (but I don't understand a thing haha)
FloatingDivider
Member
I fully agree with the arrangement and orchestration being equally important thing. That being said the track is fairly minimal and there's not a lot of overlap orchestration wise. So I can't really remove notes to fix issues I'd post it, so you're not stuck with my hilariously inept descriptions, but it's a remix I'm working on for someone so I don't want to post it until I know for sure he's (and I am) happy with it.
I also agree that mastering is like some cryptic sort of science, I wish I could fight the urge to compete in the loudness wars but despite some services (itunes, youtube, spotify?) using software to make sure playback of tracks is at roughly equal volume that volume limit is still pretty high and still requires compression/limiting to comfortably reach? It's also irrelevant if the track is essentially going live on soundcloud where everything is still loud as fuck. I also feel like the quest for loudness is sort of informing a lot of mixing decisions and doing the things you need to get loud are sort of influencing the general pallette of music? I mean people are pushing compressors a lot harder and they're artifacting but at this point compression/limiting artifacts are sort of part of that electronic sound aren't they? I mean I don't know, I'm just guessing at shit I think I hear in other tracks. I have no science to backup my reasoning, and I know I'm messing up in my reasoning somewhere because I'm not sounding the way I want to sound. But other (electronic) music on average still feels very much loud, not just in terms of -db rms but just in terms of impression.
This is what always happens to me, it also happens if I switch playback devices mid mix to reference. It happened on this track too, I went to bed after that post and I wake up and it just sounds overblown as fuck to me now and the balance is all fucked. If only I could mix on my just woke up ears for longer than 5 minutes I might be amazing at it.
I wish I had 15 years of experience, I wish I had a week of experience, previously my mix qualifier was it's good enough to sort of the showcase the song but I'm not shooting for perfection so most of my mixes are just what's in my daw by the time I get to a point where I want to call a song finished. I'm just trying to do a better job than I usually do because this is for someone else and not me so I'm actually going back to mix&master but I found out I'm clueless. Like legit clueless, I have theories and I have to work through all of them trial and error style and I think I've exhausted my mixing/mastering knowledge and my ears, but it's still not where I imagine it could be.
I think I'm pretty much at the rest ears for a week point, I think a big part of the issue is that I lost the vibe of the song. I went from headnodding for 2 hours stretches to just sitting there fiddling at knobs to get it to sound un-quantifiably bigger and louder.
Yep, I'm in the same spot. I've read all of the recommended books, (I think, dance music manual is overhyped btw) and I think I've watched every music related youtube video. (including the ones on writing a classical madrigal, watch out dudes that's coming soon!!!! j/k) and I still don't get it. I think some people just have better ears and I'm stuck with a lot of heart and the genetically defective version of ears.
And I agree on the tell you what do to do but they never go into why, they never show you what not doing something does, and a lot of times the information is very specific to the case they're working on. They also tend to have very good clean mixes to start with so the video ends up not being that useful in terms of pulling an entire mix together. That's without getting into the fact that a lot of them are using essentially 2000$ worth of waves plugins. And I'm sitting here with nothing but the 400$ fabfilter mixing bundle with no experience or actual knowledge trying to recreate the sound of waves.
I'm with you on the no understanding thing, I feel like I need a sign on my bedroom door that says no actual science is performed here. I think the issue is that I'm trying to run before knowing how to walk, I barely know how to use a spectrum analyzer to extract real meaningful data, I barely know what dB actually means in all of the differing contexts, I vaguely understand the difference between using an effect as an insert or on a bus, etc... It's just all of that stuff is terribly boring shit if you've got terrible ears for it and I just end up in a situation where I'm changing stuff but I don't really know where I'm going and I can't really hear all of the issues I'm causing on a conscious level. By that I mean I can hear the fact that the resulting mix/master doesn't sound good but I can't say why, because I have no idea basically.
I pretty much agree with Lazygecko, i keep "mixing" and tweaking sounds until it sounds good. It's hardly "mastering" but fuck it. In Reason (and maybe that's a general rule), i've noticed it's better to compress individual instruments seperately (that way you can add compression for just the amount a certain sound needs, without making it go to shit by general compression that particular sound doesn't need) and not so much the entire track. Or just slightly for loudness.
About your "s" sounds... if it's in the vocals, you might want to try to dive into the wave itself, and edit just the "s" sounds themselves and not the entire vocal track. It's more work but it should pay off in the end. Also, i don't know which mic you used to record it, but use a screen next time to block hisses and such from your mic. Also experiment with not talking directly into your mic. Especially using a condensor microphone. I also have to watch out for hissing "s" sounds when talkboxing, because you have to accentuate the S, K, P, T... letters, because the talkbox doesn't blow air into your mouth like your lungs do. So, you need to "blow" these consonants yourself, which can be tricky.
Try to listen through your mix/master through as many devices as possible, to give you an idea of how some sounds actually translate. I usually work with (good) headphones (Q701) and then i "check" how it sounds om monitors, on PC speakers, on my laptop speakers, on my celphone and in my car. It's a very good way to know what sounds end up "muddy'ing" the mix, which sounds need to be brought up, which need to be toned down etc.
Also, careful with stereo imaging, sometimes making a sound very wide, makes it very fragile at the same time. I don't know if many have had the same problem, but it's something i've come to notice in my mixes.
And dragging some instruments slightly off center (just a tad more to the left or right) can also help out to create breadth and keep a mix from "getting squeezed shut"... not sure i'm making myself clear, but you can experiment with that too. lol
I also think this is one of the reasons why many commercial things sound alike. In order to shoot for the loudest possible mix, sacrifices have to be made reflecting badly on the character of some sounds.
On the other hand, sometimes there is no cure and you really have to tweak (as in change) a sound that sounded so nice through your headphones, but totally falls flat through monitors.
This is definitely true, and it goes for many things, not just music. I'm a graphic designer by trade and it's the exact same thing. After working on something the entire night, sometimes waking up the next morning is like a nightmare in itself.
Haha, i doubt many of us have a professional mastering studio in our basements, so... sure these are very good monitors. For the money, only the JBL's seem to outdo the Yamaha's in overall sound. I was hellbend on getting the 2020 events, but after hearing them i went for the much cheaper and better sounding 305's.
FloatingDivider
Member
Gratz on the get, I hope they work for you. Depending on what kind of music you make (I don't know because you removed those links) the frequency response dropoff off at the low end (48hz) might be sort of steep but it's expected for a 6.5 inch cone. You should probably pair it with a subwoofer I think? I don't know, I do everything on my 2.5 year old badly treated mx50's they look disgusting but I like them, I hope they keep working forever. I bought M-Audio BX5's at some point but lol at the bass and I'm too broke to shill for subwoofer.
Also I just want to say I'm going to come back to listen to all of those sample competition entries and give feedback but I want to do my own thing without having heard y'all's things.
thezerofire
Banned
A friend of mine has the 2020 BAS's and those sound pretty great imo. He has v2's which if you can find can be pretty reasonable
I'm doing something in between folk and electronic pop but the frequencies are OK. For the lows I still have some pretty good open cans with a good low end performance. It's going to be quite a difference to mix on those monitors though which I have to get used to. Currently listening to references to get used to the character of the speakers. It's not a system that is "fun" to listen to but I've never heard such accurate sound especially in the mids. Some of the not-so-good mixes out there hurt my ears on those while good mixes sound just like they should. I guess that's a good basis to mix for me.
The Events seem to be somewhat the opposite compared to the Yamaha's. Lacking a tad in higher frequencies while slightly hyping the lower frequencies. I found they sounded a bit muddy and the Yamaha's a bit harsh. The JBL's are right in the middle with a good frequency response and they're the cheapest of the bunch. So i went for those. But they're all good and usually come up when people look for affordable but decent monitors.
FloatingDivider
Member
lol, I tried to make a song using just the samples, it's been an hour and I have nothing to show for it. Everytime I get a cool idea I realize I'd want synths and other shit to make it work and I don't feel like sitting there chopping samples and loading them up into a sampler to make shitty vsti's when I have a bunch of awesome ones. I could load the wave as a wavetable into Serum but at that point it's cheating because you can pretty much make any wavetable sound like anything in Serum. (well not exactly but close enough). This contest might not be for me, which is sad because I like competing. But I'm just not having fun browsing through 40 eclectic samples from commercial mastered tracks and random internet shit trying to figure out if I can mash these together into a song. Will try again tomorrow though, maybe it's just the back of my mind really wanting to go finish up tomb raider messing with me.
I know it's this way because kozak wanted to avoid making the competition based on sound design, but now it's essentially based on one very specific type of sample based sound design.
I know it's this way because kozak wanted to avoid making the competition based on sound design, but now it's essentially based on one very specific type of sample based sound design.
R
Rösti
Unconfirmed Member
I wasn't aware of this contest. I'll see if I can put something together. One question though:
Any particular sample rate you want the track in? I assume between 44.1 - 48KHz?
Any particular sample rate you want the track in? I assume between 44.1 - 48KHz?
thezerofire
Banned
going to take a crack at the samples when I get home tonight
Kwansu Dudes
Member
I actually bought Dance Music Manual years ago and it didn't really help me much (probably cause I barely understood anything and it didn't include the test answers!). Once you learn, teach us your secret.
Anyway, I tried doing a contest like this years ago and I'm still the same; no idea how to manipulate sounds and turn it into something actually substantial. Please someone host a remix competition
Alright, well I made a track recently I could use honest feedback on. There is some resonance/master in I have an issue with but there are only so many knobs I can turn before calling it a day.
Here's the soundcloud:
https://soundcloud.com/theeynstyns/competition-trap-instrumental
And the YouTube: https://youtu.be/d4OllRUtVVo
Here's the soundcloud:
https://soundcloud.com/theeynstyns/competition-trap-instrumental
And the YouTube: https://youtu.be/d4OllRUtVVo
If you're comparing your mixes to professionally mastered content from 2000 onwards, do yourself a favor and turn the references down by 6dB. 9dB if it's EDM from 2012-2015.
Then compete with the loudness all you want. You won't mess up your dynamics too much, and you can bring it up as an option (or get someone else to do it for you) later down the road.
p.s. I think it's a little disingenuous to blatantly strike out overcompression. It's become such a signature part of certain genres like complextro that I'd consider 'making it loud' part of the mixing and production phase rather than the mastering pass. By that same token, it's way too easy to mess up the dynamics for music that doesn't call for it, don't get me wrong.
Then compete with the loudness all you want. You won't mess up your dynamics too much, and you can bring it up as an option (or get someone else to do it for you) later down the road.
p.s. I think it's a little disingenuous to blatantly strike out overcompression. It's become such a signature part of certain genres like complextro that I'd consider 'making it loud' part of the mixing and production phase rather than the mastering pass. By that same token, it's way too easy to mess up the dynamics for music that doesn't call for it, don't get me wrong.
Thanks, that seems like a great tip and Im definitely going to try that out, but that made me wondering.
If you turn down the reference songs, aren't the dynamics already lost? or are they just that good that they can get away with it?
I mean you would end up trying to match the sound of a song that already lost its dynamics due to too aggressiv compressing. That way loudness wouldn't be an issue anymore but you would still try to match a compressed song?
Or is that not how sound works? (When It comes down to technical stuff I'm almost clueless, so sorry if the question seems dumb.)
I haven't made a lot of music recently, like only 5 tracks in 2015, but I'm gonna share some of the newer stuff with ya.
Swindler's Skank - Youtube | Soundcloud (My only 2016 track so far, and it has vocals!)
Explosive Heat Death - Youtube | Soundcloud
Riders of Vengeance - Youtube | Soundcloud
Anyway, I've also downloaded the sample pack for the competition thing, haven't listen to them yet, but perhaps I'll have an entry for the compo in the next few days.
Swindler's Skank - Youtube | Soundcloud (My only 2016 track so far, and it has vocals!)
Explosive Heat Death - Youtube | Soundcloud
Riders of Vengeance - Youtube | Soundcloud
Anyway, I've also downloaded the sample pack for the competition thing, haven't listen to them yet, but perhaps I'll have an entry for the compo in the next few days.
Dynamics are already lost, yes. (Although a good mastering job will preserve dynamics better than a bad one)
A lot of the time, it's still a good practice to reference to for other factors though - stereo spread, tonal balance, if you like how far the vocals are positioned in front of the music, etc. You just don't want to have to be competing with impossible RMS values while you're at it.
A lot of the time, it's still a good practice to reference to for other factors though - stereo spread, tonal balance, if you like how far the vocals are positioned in front of the music, etc. You just don't want to have to be competing with impossible RMS values while you're at it.
I need some help.
I'm looking fos some choir voices, i'm trying to do some gansgta-stuff and i'm using an aaaah-ooooh preset of Live's analog but it's far from what i want, way too synth-y and also i can't really make it fit well in the mix without exagerating the highs,wich turns an already poor sound into complete garbage.
I loked a bit online, but only found some Soundiron libraries starting from 99$, but i'm totally broke ATM plus i don't have Kontakt.
I'm looking fos some choir voices, i'm trying to do some gansgta-stuff and i'm using an aaaah-ooooh preset of Live's analog but it's far from what i want, way too synth-y and also i can't really make it fit well in the mix without exagerating the highs,wich turns an already poor sound into complete garbage.
I loked a bit online, but only found some Soundiron libraries starting from 99$, but i'm totally broke ATM plus i don't have Kontakt.
This reply is a bit late, but I just want to add that, although I do own a bunch of waves plugins, I use Fabfilter plugins all the time, and I think they're excellent, especially the Pro-Q, Pro-C, and the Saturn.
That, and I'm not even the new versions of Pro-Q and Pro-C; I just don't see the need to pay for the upgrade while I'm perfectly happy with what I've got. You can do all your mixing using those tools, for sure, I would say they're up there with a lot of the great waves plugins.
Plugins are all different flavours of the same thing. You can pretty much boil 90% of mixing down to EQ, compression, delay, reverb, and learning how to use those tools. It can help listening to music by artists you like and trying to break down how they've crafted their mixes, and what kind of effects they're using to achieve it. And if you don't know, ask somewhere or google (someone else might have had exactly the same question).
If you guys are interested in the finished track, you can find it here (just hit the play button).
Thanks for your feedback btw. I did take some things into consideration, got some feedback from a couple other people as well (sometimes with opposite opinions).
Excuse me, but i think you are lost here... in this topic i mean. See, one the -unspoken- rules here is that you have to at least suck a tiny bit, in order to give other posters a bit of hope, to make them feel good about themselves. Many of us spend a lot of money on monitors, headphones, synths, drumsynths, software etc... hoping to feel like an undiscovered superstar. So thanks a lot buddy, thanks a lot for ruining our hopes. I might as well sell all my stuff. This is depressing.
So, yeah, that was great. Please tell me you basically just ripped a vocal sample somewhere and that is not your own voice, and tell me that you used some prefab loops from a library.
Hi. First time posting in this thread. I have been kinda busy with life but I managed to upload a small loop that I have been working on to soundcloud.
Kinda weird seeing that the last thing I uploaded before this was 5 years ago...
Kinda weird seeing that the last thing I uploaded before this was 5 years ago...
Kwansu Dudes
Member
These are really fun. Are you playing each instrument yourself? Nice quality and clean mixes as well. Unique to see you using music surf or amplitude to display your tracks.
I used to give large feedback posts in the Music makers thread but only a couple people would reply but I'll try doing another here.
Kwansu Dudes
Member
Back to Acidplanet we go!
thezerofire
Banned
I think that came out really well!
Hey, thanks man. There are still some things i'm a bit unsecure about, but at some point you have to call it and stop fiddling.
Hey welcome! I have to say, it's not really my thing, so i'll leave the commenting to others who are more into the genre. Try not to get stuck in the loop
(it's got to be a universal thing, right?)did some reprocessing of a classic:
https://soundcloud.com/sadsic/stickerbrush-symphony-cloudwave-mix
can i get some feedback on this?
https://soundcloud.com/sadsic/stickerbrush-symphony-cloudwave-mix
can i get some feedback on this?
Sounds good, but the intro could be a tad longer imo. Not sure what's going on at 1.43 is "up to snuff" but i like the track as a whole.
Hey guys! I just found out this thread, which is pretty cool!
I have a few questions to ask you: Do you ever feel like the things you are making are random and that everyone else can do it too? That you were, for lack of a better term, lucky? I dabbled in music before, when I was 18 I think, trying to make live performances music. I still have it up on youtube although it's unlisted and embarassing to listen to. 4 years later, last summer, after meeting some interesting music and going to underground music venues, i got inspired. By december I released my first EP. I feel like what I'm doing is just using mathematical patterns to make things sound good. I'm not sure if I'm doing anything right. What do you guys think? This is the EP https://soundcloud.com/claudiub/sets/random-patterns-1
And I have another question. I have a BOSS RC 300, a BOSS GT 10B, SHURE BETA 58A (microphone) and a YAMAHA amp. Is there anything I can do with all of them, combine them with electronic music from the computer somehow? What would I need? I'd like to sample stuff and do turntable stuff in my songs in the future, if that helps
I have a few questions to ask you: Do you ever feel like the things you are making are random and that everyone else can do it too? That you were, for lack of a better term, lucky? I dabbled in music before, when I was 18 I think, trying to make live performances music. I still have it up on youtube although it's unlisted and embarassing to listen to. 4 years later, last summer, after meeting some interesting music and going to underground music venues, i got inspired. By december I released my first EP. I feel like what I'm doing is just using mathematical patterns to make things sound good. I'm not sure if I'm doing anything right. What do you guys think? This is the EP https://soundcloud.com/claudiub/sets/random-patterns-1
And I have another question. I have a BOSS RC 300, a BOSS GT 10B, SHURE BETA 58A (microphone) and a YAMAHA amp. Is there anything I can do with all of them, combine them with electronic music from the computer somehow? What would I need? I'd like to sample stuff and do turntable stuff in my songs in the future, if that helps
To answer your first question, anybody could do what i do. The only difference is that i know my brain works a tad different from most people, combined with the fact that i have no classical training, i often end up doing things differently than most people would have done it. A couple of musically trained musicians have said that this can be an advantage in many cases. Obviously in many other cases that's a disadvantage.
As for your track, it has potential, for sure, but i would ASAP ditch the xylophone/metallophone from the intro. I could also do without the guitar pluck in the back, but that's less cheezy and annoying. The rest however, has an immense Metroid Prime vibe going and needless to say, that i like that. The drum pattern needs some work though. Especially the clap pattern comes off as a bit cheap. Not the clap sound per se, but the pattern.
Hope my comments are helpful in some way. Of course, i'm just a guy with one opinion.
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