/musicprod/ - Music Production

anybody got some helpful tutorials on Ardour (4) on hand?

>>1565

At 2:28 I'd add a kick along with every snare, I'd fatten the snare at that moment, and at 2:40 I'd remove every second snare, sticking with the pattern from 2:28, and do a massive build-up from there, introducing more instruments, some organic sounding ones maybe. I'd fade in a new lead melody on top of it, add more bass, and then go from there. Pretty good though.

>>1556

>>1563

'CG Porn Music'

>>1584

i'm really digging that second one

>>867

agreed. It seems to also be a very broad term, which is the reason, this album

>>1111 (checked)

goes as vaporwave. I believe it's the subgenre "Hypnagogic drift"

Needless to say, I really got vid related stuck in my head. Even though it's cheap, it does really sound nice. It would have been wonderful if this could have existed without being a sample.

Soon to be a year old but I think the video is very informative, although quite long.

I guess the bottom line would be that it started off one way and filled with pretense, but now is removed from all pretense and just serves as an excuse for AESTHETICS.

>>867

>the reliance on sampling

everyfuckingelectronicgmusicgenreevermade.jpeg

>>876

everyfuckingelectronicgmusicgenreevermade.png

How are you surprised? Ice Ice Baby was a small section of Bowie's Under Pressure stolen and repeated all song. There was some shitty hiphop song about oral sex whose chorus line was stolen and bastardized from that old "Spin me 'round (like a record)" song. There's some shitty pop song whose chorus line is stolen musically and almost lyrically from Eiffel 65's one-hit blunder "Blue".

Electronic music thrives on stealing shit and lazily passing it off as "original". Scum.

Non-electronic musicians have the honesty and good virtue to just play the damn original song and call it a cover.

>>1200

>this anally ravaged

kek

>>1580

Most electronic musicians still write original music, even though there are examples like that. Most consists of either original sounds or original sounds + synth presets made for music production.

We could always kinda advertise in other locations such as facebook music production groups, there's a few really big ones with lots of pretty decent members

>>1488

I don't know any of those groups, so I'm counting on you.

>>1489

I'll see what I can do sir!

>inb4 storm surge of collab requesters

>>1581

We are not in 2010 anymore.There is no problem about the fb.

>>1560

That's what I've been doing. I've been finding samples or instruments in the same frequency range as I want the pads and drones to be, then use Fruity Granulizer, which I record into Edison, then blur and loop. I've had some good results, but none have been close to Katahimikan (listen to Promise or Halcyon). I suspect he's using pad plugins, like Evolve Mutations or whatever. I'll check out Paulstretch, thanks.

https://clyp.it/gnu2r0uo

What could be this duplicated sound?I desactivated all delays and attack is ok.

>>1574

that's somewhere between a saw and a triangle wave, that's been low-passed, and has a chorus/unison applied to it.

I did the same thing trying to re-create the Playstation 1 startup sound. http://puu.sh/mAZ3q/d507589a7e.mp3

>>1575

Its not the sound itself,probably you got it wrong,because when i listened on speakers out I cound notice.On the headphone i can listen to it,it happens in exactly picks on wave drawing(1sec;4sec).

Nice start up,I through about recreating something similar too,its sounds very modern today,in my opinion.

>>1576

as far as I can tell, those pops are either

A) volume automation

B) it's 2 different recordings layered on top of eachother, and that point is where the first note starts on the second layer.

in both cases that's still definately a triange or saw that's been lowpassed and had chorus or unison applied. you can tell that much by looking at the waveform and the spectrum.

the characteristics of being a saw or a triangle is in the harmonics present when you view the spectrum.

because of the chorus/unison effect (not a phaser) is in the change in shape of the wave over time, and the phase cancelation which causes the volume to fade in and out.

you can see that at the start of the loop the waveform is mostly in-phase and lined up so the wave looks uniform, but as time progresses to around 1-2 seconds, it is clearly multiple stacked waves canceling eachother out.

additionally the shape of the wave looks like a triangle that was skewed towards being a saw, but didn't quite make it over all the way, which is something that happens when you low-pass a saw wave, or you just skew the shape of the wave (in something like sytrus).

additionally while looking at the spectrum, it has no higher frequency data, further evidence of the lowpass.

If you're talking about the sudden snapping that happens for each note, I think that's probably either volume automation or a second layer of audio as I mentioned earlier in this post. Or maybe it's still another delay at about a 1 second delay.

Either way, I tested recreating the sound based on these observations and got fairly close within about a minute of fiddling. It's a fairly basic sound in and of itself.

>>680

I've been looking to see what their site was, but I just couldn't find it.

>>757

It wouldn't be public. It'd be a private community made up of only other release groups, people they trust, and possibly suppliers.

>>34

>>39

Thanks for the link!

Has anyone seen a Bitwig 1.3 windows crack floating around?

>>1571

I think I've seen 1.3.5 somewhere. Google around.

audionews.org is a great private tracker, I've downloaded terabytes worth of stuff from there.

There's open registration to the public on the second of every month and you need to keep a seed ration of above 0.8 to use it properly though or donate money. Just find newer torrents that have lots of leaches and seed it, after a dozen or so you'll have a decent ratio and can download whatever you want.

You'll need to configure your torrent program to specifically use that site though so I'd recommend getting a second torrent program used just for that tracker, if you're not used to private trackers it's a bit of work to set up properly compared to the one click method of using public trackers.

The thing I like the most about the site is the troubleshooting in the torrent threads that is involved for pirated music production software.

http://audioz.info/

Personal favourite.

>>1104

if you want someplace that is legal where you can discover vst/AU stuff that is either freeware or to buy might I suggest KVR Audio, if you want to be not a pirate.

Why do all these sites cap downloads at 50 kb/s? Post some public trackers, please.

>>431

It's a tracker with modules for effects, sidechaining, compression, etc. it's a pretty nifty program, and I can get a lot done with it in a reasonable amount of time. There's builds for Microsoft Windows, GNU+Linux, OSX, Android, and iOS. If you're comfortable with Milkytracker it's really easy to switch. Pretty good, like a 7.5/10 overall.

>>440

It may be easy to use, but there's still something that's just off about it. The way it looks and the way it functions just don't coincide with one another. I guess i'm just not familiar with the workflow, that could totally be the issue.

Also: here's a link to SunVox, I forgot earlier: http://warmplace.ru/soft/sunvox/

>last post in thread was nearly a year ago

Well, fuck me.

I'm trying to set up a metamodule that plays a repeating pattern of 1 kick and 4 notes.

Problem being, when I use the pattern I get the same notes out, no matter what notes I put in (I thought it would adjust based on input note, with C3 being the input note).

TL;DR: How do I into arpeggiator?

>>1567

Would be easier to tell if you posted what your routing looks like.

It's been a while since I've used it, but I don't see why transposing it on the synths or multi modules just wouldn't work.

>>1211

I love it. Can you enable downloading plox?

New preview: https://soundcloud.com/andandmusic/preview1

I'd like to remake this track and am looking for advice:

https://soundcloud.com/diggorydigo/khkhkjhkjhr

The mix feels way too dense, with some of the bass lines not fitting the mood and the drums kind of unnecessary (and like the rest of the track, badly mixed). I know I can start from there, at least. Any other tips?

I did absolutely no real EQing or mastering on anything I've put up so far, so I'd like to go through and do a half-decent job this time. When I salvage enough of these old tunes, I plan on bouncing them through my four track cassette recorder to get a warbly, lo-fi sound. Should I do my mastering before or after this part?

I've been working on these tracks on and off since I was in high school and would really like to finish them and move on.

>>1074

I'm generally not into drum and bass stuff, but you did a great job with this one. It almost has a Chrono Trigger feeling to it.

I've been playing around with trap recently, trying to make the facemelting psychedelic trap that I wish existed. I'm pretty happy with this tune, but I feel like there's a lot that can be done to make it even nicer sounding. Can someone give me some feedback/critique on it? Cheers! https://soundcloud.com/vokestar/sweet-dreams-r-made-of-u

>>827

https://clyp.it/zorr0ipy

15-second loop, each track plays for a different monster-spawning location,

>>1517

Also, I think you can just duplicate the automation and change the track number in the upper right when you click on it. If that doesn't work, you'll have to right click each point of the automation, copy the value, and then paste it into the lead effect track automation. You can place it over the original automation to get the same curvature and stuff.

>>1518

>>1517

Unfortunately mostly lame stuff :(

I'll give it a try and investigate what you said tho, thank you !

>>1519

Yeah, there's no way of separating the lead sound from the buss once it's combined with other stuff. One thing you also could do is royte the lead to a second track as well, then apply the lead-only effects and turn the dry all the way down. Not gonna work with distortion and stuff, and the track won't receive the results of the effects from the other buss, but you'll save a lot of time and processing power.

>>1521

Wow thanks a lot. That's exactly what I was looking for. At least I know I just could not do what I wanted! As for the dashboard, I knew it was there but I hadn't thought of it.

Patcher always seemed attractive to me, but I never got it because I was kind of afraid of doing shit everywhere.

Thanks again !

>>1510

update, my bad. listening to these specific tracks again it seems to be re-recorded vocals. However, the question is still there for many other songs that do this.

It's not really legal unless you got permission from the copyright holder (the artist doesn't always have the sole rights). Most likely, no one's gonna bother doing anything about it unless your songs gets very popular.

>>1510

step 1 legal written permission from the copyright holder. This might be the composer, or a label they are signed to. If the composer is deceased, someone still holds those rights.

there are several kinds of rights required--

Composition rights, that is legal rights to use the musical composition, which includes melody and lyrics

Audio Rights, That is the legal right to use the recording of the composition. This is only required if you sample, however this is required for even the shortest samples. people have been taken to court over millisecond long samples.

Performance rights, This is the right to perform said work, or include a portion of said work into a derivitive work, for live performance. Again, this right is only required for live performances.

Sale and Distribution rights require the above. If you're releasing a track for free as a derivative work, so long as your final product is demonstrably different from the source material, it can be released for free (no profits for any party) under fair use. This fair use is what allows remixes to exist, and is how some artists get their start (mixtapes / demos / bootlegs). The reason that places like youtube and even soundcloud do not allow for sampling in music (content ID, etc) is because even if you do not profit from the sample, they (youtube, soundcloud, etc) do, in the form of ad revenue, and native advertising, meaning that even if you do not profit from the song, they are profiting from the existence of the song indirectly, however they are not in control of what gets uploaded and therefor the fault falls on the uploader, and not the service. It's only an issue though in the case of content ID, because otherwise it goes unnoticed, which is why there's so many mashups/remixes/bootlegs on soundcloud, despite being a violation of the TOS. Soundcloud doesn't have a content ID system. yet.

As for that song and source that you reference, That's a pretty obscurePost too long. Click here to view the full text.

>>1514

Great post, highly informative. Thank you

Well, that's a long process of learning, but you really don't need anything fancy unless you want realistic instruments. In that case you can go for a cheap sample library or just get a torrent. Cheap libraries do not have fancy anti-piracy support. More expensive ones (the huge orchestras that sound basically indistinguishable from a real orchestra, for example, if you use it right) often require a USB dongle called an iLok that contains your purchased licenses.

Obviously, that's not where to start. You start by pirating a DAW, which I assume you already have, as you're using Sylenth1. I use FL Studio. I bought the producer edition (signature bundle) a long time ago, because it's just more practical to have an authentic copy. But it's not necessary, especially not for starters. Pirate the producer edition with all plugins. There are several torrents, any idiot can find them.

Now get used to the piano roll, patterns, the playlist and the mixer. Once that's done, you can make ambient sounds (pads, drones and noise) by loading any sample (a harmonic one if you want a harmonic pad) into the Fruity Granulizer plugin and playing around with the settings. Link the granulizer to a mixer track and load Edison in an insert. Record the granulizer for about 15 seconds and find the blur effect in Edison, then blur the shit out of it. Then click the loop button to make it loop seamlessly. Drag the loop into an empty channel and place a long note in the piano roll and just let it play over and over while you apply effects to it. You're gonna want to set an attack and release time so it doesn't start and stop suddenly. Link your new pad to a mixer track and load Fruity Parametric EQ 2 and lower/cut unwanted frequencies. Then load Fruity Reverb 2, maximize the stereo width, increase the reverb duration and find a nice room size and dampening settings.

That's an exercise for you that might teach you one approach to making samples. I suggest ambient pads because they're easy to make while still sounding good. This, and any other approach, requires that you learn how to use the DAW. Besides using existing samples to make something new, another obvious approach is to just make a lot of synth presets. You can also browse factory presets and find something with potential, Post too long. Click here to view the full text.

>>1504

many thx

>>1503

my reply is >>1508

>>1492

well friend, that's not entirely how recording commissions work.

If you are going to pay a performer for a recorded performance, you pay them, and you get their performance, and if you don't like it, tough shit. you got what you payed for. demo their other work FIRST.

For example, warner brothers commissioned a band to record a song to be the intro for an upcoming TV Show that would be hugely popular. they had the song progression and melody, hired a popular band, they paid for it, the band recorded it, and warner brothers didn't like it. they had to hire ANOTHER band to record the same song, but they didn't have much money left in the budget, so they hired some nobody local band to record the same melody and chord progression to make the intro.

The local band was called nerf herder, and the song was the intro to buffy the vampire slayer,

the popular band they commissioned the first time was the offspring, and their recording went on to become 'the kids aren't alright'.

when you hire someone to give a performance, or to produce art, it does not matter if you like it or not. that's not how commissioned work is done.

Barring commissions if you're recording an album, guess what, they're in the band. end of story.

In both cases, they must legally be given album credits per song per part, unless they have specifically waived that right, in contract, otherwise you cannot sell the album.

But that aside, if you're looking for talent for a specific instrument, I'd suggest going to a place specific for that instrument. for instance, you said guitar. go to a guitar hobby forum or something. you will probably find more people who play that instrument this way.

Not saying abandon this thread either, you might get lucky here.

>>1493

What I meant by "if I like what I'm hearing" was that I wouldn't hire you until you played like 30 seconds of various chord progressions, for example, to prove to me that you actually can play the instrument. Then I'd hire you.

Of course I'd pay royalties. I decided long ago that half the earnings would be distributed among the musicians who'll play on it, according to the percentage of the audio length (excluding the parts where only I can be heard or only electronic instruments are playing) they're playing.

This is not a musical I'm hiring actors for. This is a very personal album I'm asking for help with, that in exchange I could pay what little I have for, or pay by giving away some of my own royalty percentages in addition. It would mean your name would be listed in the pamphlet and considered a temporary "band member."

The story of the album will continue for 4 more albums, so it could be lucrative.

I know how commissioning work works. I've been commissioned several times myself. The music commissions I've asked for very little money for because I'm eager to accept, but maybr that's just me. I was planning on paying with what I earn for commissioned illustrations. I'm getting about $5000 for illustrations in a few days that I'm going to spend entirely on this album. I also spent about $5000 from my summer job last year. Can't afford to act like a Hollywood production company right now. I'd wanna Skype first to personally get to know one another.

>>1493

Cont.

I've been writing and rewriting music for this since I was 12, for 9 years now. I have the tools, I just don't have the friends. I'm building a small recording studio in my basement, and I know like two people who will play various instruments. The rest I have a huge library of realistic sample libraries. Most of the songs have complete VST versions, without vocals for now.

It would be way cooler to work with someone from /musicprod/ than from some random forum where I only have that one post.

Contracts would be signed and all that shit. I didn't write it for the money, so whatever it takes.