/musicprod/ - Music Production

https://clyp.it/vd0znlif

Newbie here, please be harsh.

well I have a couple of things. I'm going to post mine first then check out the… one that seems to be up and comment my thoughts on it.

but first, here's mine. there are 4 things

1

https://soundcloud.com/milest3hr4t/trigger-warning-track-2-wip-20

I was attempting to do some sort of industrial-rock / neuro / mathrock fusion thing, and In trying to make a weird rhythm I came up with what ~I~ had thought would be expressed as 20/16, because I used 20 16th notes per bar (5 16ths per quarter), but others have told me that "no, that's 5/4" to which I responded "but I'm only using 4 quarter notes, that's 4/4, i'm effectively using 20th's" and they say "20th's don't exist, you're using 16ths, and your quarter notes are actually dotted quarter-notes or some crap" and I never actually got any comments on what I made beyond that argument.

Meanwhile I was looking for comments because I had no idea where to go with it to make a complete song, My head kinda ran out of stuff for it at that point and I haven't gotten any inspiration since,

2

https://soundcloud.com/milest3hr4t/itteration-14

this isn't so much a WIP as much a "finished" track that I probably need to re-level, and after that probably just scrap and start over. I tried making techstep. I took the time to make my own drums. I made the hats sound like this weird ratchety noise like going up on an old wooden roller-coaster, and I was kinda proud of that, the kick and snare are sort of this pop and snap, and all of it is short little pops, rather than having a long decay, something I noticed is usually a thing in techstep.

The only comments on that I've gotten have been that the bass is too loud and the snare too quiet. and basically no comment on the rest.

I feel like it's partially curse of the artist but I personally don't even like this track that much.

(making 2nd post in case this is too long)

>>830

cont

3

https://soundcloud.com/milest3hr4t/what-now-wip

I decided I would try writing something "classical" or "orchestral" or something, I'd use a piano, some kind of bass thing, some strings, a brass section, and I'd write for that and make some kinda anthem soundtrack thing.

I never got as far as using real instruments, I mean I used fucking fl boobass for fucks sake, This is literally presets just to get work in on melody. I actually made this about 2-3 years ago, and its just sat around in my files for ages because…

I feel like I hit a dead end. I literally don't know what to do with this.

It also sounded way to cheery and up-beat and happy, and I felt really retarded, super gay, and embarrassed, while working on this. I am simply not that mirthful. I grew up on a mix of 80's synthpop, and KMFDM/NIN/skinny puppy. with a few things for humor. so this uplifting happy shit…. I just feel really uncomfortable writing and even listening to it, so I don't know what the fuck to do with it.

4

This one…..

requires an introduction.

So there's this fucker on youtube, "Triple-Q" and he made a group compilation album on bandcamp called "gangnamcore" which is meme-filled remixes of gangnam style, gentleman, and a few other things.

It was 107 tracks, submitted from random fuckers on youtube, as a joke.

He is putting together Gangnamcore 2, and is currently taking submissions.

I decided I would submit something. It's just meme-tastic jokes after all.

I tried making an overly hard "Lets be super serious guis" remix of gentlemen

Keep in mind the above. This track is *SUPPOSED TO BE A JOKE*

https://soundcloud.com/milest3hr4t/mother-fucking-gentlememe-wip

I submitted it, asking for feedback on if i should change anything. he hasn't responded.

And if you can't already tell, I am totally detatched from if I'm any good in any way shape or form. I feel like i'm absolutely terrible and unimaginative and bad. I don't want to be anymore. hence wanting feedback from people who aren't retards on 4chan. hence why I don't want feedback from /mu/

>>828

This reminds me of things like reading rainbow, and old old OLD BBC stuff.

This shit gives me visions of flying through the sky and space of a 1960's vision of the future with retro-future flying cars and crazy sunglasses and weird multi-colored opalescent clothes and shit. until the ending where the time machine connection got interrupted by a fan or something.

That's what this makes me think. it's very airy and flowy and trancy, It's not particularly memorable or catchy, but it does sound good while you're listening to it. which basically means either this needs to be on a soundtrack for some kinda old show, or it needs some kinda catchy lead. I'd suggest checking the sticky's link, and checking the video linked in it for "melody writing 101" which is all about making a catchy melody/lead/hook by being all about call and response. it's seriously the best tutorial i've ever seen on it and it's super easy to understand.

Either that or it needs some good drums and go the way of boards of canada.

In any case that sounds pretty good. intro felt a bit sparse though. when it started my first instinct was to instantly skip like a minute in, but I saw that it was only 2:something, and said "no. i'm gonna force myself to–oh there goes the next instrument, okay this can work"

I don't have any advice for that part though, I have the same problem myself sometimes, and I am starting to think that's more a problem with us people as listeners and audience than with the music. people are loosing patience with everything. movies, TV shows, albums, videogames, phone calls, conversations, all getting shorter and shorter. i'm rambling. sorry.

>>827

https://clyp.it/fldumxll

Hence the phrase WIP.

>>835

Oh look I forgot my capcode

>>835

0:59

that growly vocaly sloshy sound is pretty cool, I'm just feeling like I've burnt out on most dubstep. it also feels a bit repetitive (to me, and I'll listen to KLF). then again I may just be out of touch.

>>830

>1

interesting. very catchy. the guitar sound is very unattractive which subjective but could work perhaps with a beautiful, more softer element.

this is not exactly similar but has done the concept that i speak of.

https://www.youtube.com/watch?v=wk79H4vn89U

it has a lot of potential and could be very potent.

regarding the 20 in 4/4 business. the way i see it you seem to speak of quintuplets which is similar to triplets but five instead of three.

https://en.wikipedia.org/wiki/Tuplet#Tuplet_notation

keep working on it perhaps just the same way you have and all will work out. i would suggest a transition to some form of major turning point where everything changes form but again, that's only my opinion.

could also just be one thing as it is common in industrial but breaking the mould or at least making your own is better.

>>831

>3

sometimes the simple fact of having bad sound to work can completely kill the idea and the motivation. i enjoyed what the brass melodies and strings were doing but didn't much care for everything surrounding it.

how about this. delete all but the very essence of the song. do not be afraid to violently rape if it's needed, or if all fails, to simply let it go.

> I feel like i'm absolutely terrible and unimaginative and bad

it's difficult to tell if the work has any value to it since you're working so close and near it. it becomes difficult to separate completely from it at certain times.

don't be afraid to fail or be terrible or unimaginative. such things will most likely occur and see it as lesson. the stuff heard had a lot of interesting things but all very rough and underdeveloped which is understandable.

one last thing which i find useful, is to never seek or yearn for praise from outside source. those are erratic and i rather hear what those who didn't enjoy have to say.

>>828

very easy on the ears. creamy and soft.

i got same feel as the memory vague but not demented.

a little more variation will suit it very well as you did at the end there but earlier, around the 1:20 mark. at that point one could really use for a more overt change. great idea, great sound.

got very little things to be harsh about. i think it doesn't really require much to be better or complete.

https://soundcloud.com/audiopia/soulless-metal-soldier-march

Will give feedback to others soon.

>>841

Also:

https://soundcloud.com/audiopolis/time-out-on-a-walk-to-the-first-bus-home-in-the-morning/s-MPDUU

Interlude from my album.

>>841

it says it can't be found, and that you have no public sounds.

>>842

this makes me think of a family movie. it is quality, but the mood and such make me think of something for like, a made for TV family drama thing. which is not a bad thing,

>>844

Thanks, I made it with video games in mind. Like Ratchet & Clank or something.

>>844

Wait, ignore the previous comment. The piano one is meant to play behind Spoken words. It's ironic background music to a nervous breakdown. Let me try to fix the not found link.

>>846

There. SC mobile (website, not app) sucks donkey dick. It makes no sense to hide features, including sharing and signing out. But I found a way.

https://soundcloud.com/audiopia/soulless-metal-soldier-march/s-GRR4O

The soulless metal soldier march is great!

Here's Mine.

I just have to apply some lyrics for it. anything else needed tell me!

https://clyp.it/qeteknoe

>>850

Impressive. The only thing I can complain about is that the right aide of the stereo image sounds a little heavier than the left. I think it's because of some low end that's panned.

In addition the timp. drums need more low end, less high end and some reverb in my opinion.

The snare sounds amazing. I'm gonna assume it's programmed; which library is it? Also I feel that the very high violin needs more reverb/wider stereo (remove/be easy on the narrowing on the stereo enhancer if you used one), possibly a longer release time, and portamento would be cool. Low viola harmonics playing in parallel with the high violin would be cool if panned to the side. Maybe two of them panned to each side playing harmonies would be cool.

I also feel like the first part could use a solo violin playing a memorable melody, which is switched out with a solo cello when the orchestra kicks in. Like a distinct portamento solo cello with a lot of vibrato and expressive dynamics.

Otherwise 10/10. Some of the most impressive stuff I've heard on chans.

>>853

Thanks a lot for the feedback, right at this moment I only have a pair of crappy earbuds as I am away at my family home (semester break.) and not using my monitors which are at my flat, so it is a little hard to tell where the panning is, I think I was so focused on getting those damned guitars right that I kind of neglected the Orchestrals. (It is fucking pain in the arse to record those I swear to god, I had to record it directly through the mixer as I do not have a Dynamic Microphone yet, so they come out really tinny so I have to distort the hell out of them)

Just as I wrote the previous paragraph, I just had a look at the Mixer section of the song and the pentatonic bass lines have been skewed to the right too much, everything else is not panned much at all :X and i thought it all was. I may have to spend some time dedicating spaces for the instruments. EQ has some tampering, I had to give it enough headroom for each section.

Guilty with the snares, they were actually distorted looped samples from the soundbank. I'll get better at sound design with more practice. The drums come from Propellerhead Reasons soundbank "Ring Snare Dry 92"

I'll take into account the orchestral section of this song. (I am actually a Classical Voice Major so I am thinking of doing some pseudo-classical quick recitative over the top of it.)

Thanks again for the constructive feedback and I will give the song some tweaks and patches and will submit it again later.

>>830

>1

I like the main riff. I think your track needs more low-end definition, the bass is kind of subdued. As to what elements to add, maybe some variations of the riff or a solo?

>2

I agree with you, this track is pretty much complete. I have to agree with the other comments, the snare is quiet indeed. I also found the piano too dry for my taste. It's a good track, just need some rework.

>3

Musically this is an attractive track, the general lifelessness of the timbres are what make it sound off. I guess changing these presets, removing the quantizing and adding a little swing (you are using FL, right?) and some velocity randomness would give it more realism and bring it to life.

>4

Memetic as fuck.

> I feel like i'm absolutely terrible and unimaginative and bad.

You're okay, dude, not terrible at all. We're all going to make it.

>>835

I like your arrangement and choice of instruments. Creative.

That sidechaining at the beginning felt a bit off. Kick has low punch and volume imo.

>>842

Almost perfect as it is, imo. Very subtle, evocative. Maybe a bit more of work in the sound design could give it an extra edge.

>>847

Great as well. Could work as a soundtrack. Again, sound design could benefit it.

>>850

God, this really is impressive. You can tell that there was some hard work in doing this.

I like almost everything about this. My only complaints: guitar could have just a little bit more high-end and definition; the first minute could use some more volume, just a subtle change compared to what it is right now.

>>874

What do you mean by sound design here? Do you have an example of what you might have done with them from here? I was thinking maybe I'll add some subtle ambience to Time Out ( >>842 ) with rattling leaves and stuff, and make everything except the piano wider, more volumetric, dreamy and "real" if I can pull it off.

On the Soulless Metal Soldier March ( >>847 ) I've already switched out the spiccato-playing violins with a solo violin. Sounds nicer. Otherwise I've removed the big bass+high end synth at the start. That was just a cheap attempt at looping everything seamlessly.

Thanks :^)

>>850

this is freakin' sweet. I had to skip the intro, too quiet and not enough happening for my current mood, but the rock/metal/industrial whatever you call this, I dig it.

do you use a particular guitar set up, or samples, or what?

>>880

>What do you mean by sound design here?

Some tweaking of the individual sound fonts to give them more character: layering, automated filters, effects, etc.

>start track

>get stuck

>start track

>get stuck

I haven't finisihed anything in months.

>>899

I know that feel. The thing is, either the one part you have is so great you're afraid to add to it with crap, or it's not good enough to motivate you to work more on it.

>>899

>>901

>stuck

you just gotta get over the hill and with enough effort surely it can't be just shit but it depends i suppose how you work and how willing you are to change things. i would suggest violently forcing yourself on it as some savage. keep a backup just in case.

>>901

>it's not good enough

then the bin is where it will dream

>>903

>the bin

I don't know, I like to open old, mediocre projects after a few months and see if it has any potential to be good. Then I see what I can do. Sometimes it can turn out great.

>>906

on occasions but you should never fear to kill your darlings as they say.

sometimes it simply holds you back, keeping you motionless.

sometimes you have to take the dog behind the shack and shoot it.

>>908

True dat

https://u.teknik.io/LwaaDw.wav

Well, it's my first song. I'm trying to make moombahton/jungle terror track, but I can't make a pluck or synth that fits the song. Critisism is appreciated.

https://clyp.it/nt2l5pws

talk about dump n go

>>899

>>899

I had this problem for a while. Kinda still am.

>>850

Take 2, compressed + Guitar playing! any other changes let me know.

https://clyp.it/rxllotjw

>>835

I think there needs to be a pause before you introduce that first bass in the buildup, and the bass needs some of the high frequencies eq'd because it's kind of grating to listen to the drop. sounds sort of like figure though, pretty good dubstep track with some tweaks

https://clyp.it/fkcu2zhe

here is my track i'm working on, basically took a friends track and redid it from the ground up. I think the voice on the drop (said I) needs a bit more effects to meld with the track a bit more but anything else people can hear that can be added would be welcome suggestion

https://soundcloud.com/user779583664/hypr8

I am somehow newbie in this stuff,and i am kind happy with this sound.Don't know if give it to complete,or try to expand it length,just like a truly ambient song.

>>828

I liked how it doesn't have a exactly melody and how it goes by the time.

here's a track im making for a videogame

https://clyp.it/323y2rhk

it's supposed to be something fitting for a level set in an ice world and/or on a high mountain

>>1074

it's alright. how does it sound without the drums and without the piano melody that goes pause 2 3 4 in the right corner? the high register melody is very pretty.

>>1075

huh, you're right. i shouldn't have had the piano melody playing with the flutes. how did i not think of this earlier.

thank you for the critique!

i'll try to make the melodies and the drum patterns more diverse in the next versions.

I also might try to lower the pitch of the drumloop.

>>827

I didn't make the main bass, but I think I ruined it.

It's a joint project between a friend and me, I did the mastering/ editing, he did melody. we did composition together.

what the hell is wrong with the main "riff" and how do I fix it?

https://clyp.it/2c1kjocb

>>1077

Unrelated feedback:

The first melody is good for the in between catchy parts. But I think you need a more catchy motive for the song to focus on. 1:15 is a good place for the drum beat to take a much-needed break. You need more contrast in your arrangement.

I pulled some attributes out of a hat and got: 110 BPM glitchy aggresive 2-step. This is the result: https://u.teknik.io/bIbHOF.wav

>>957

This was my first 'track,' and it's pretty shitty.

Sorry I didn't get time to listen to anyone else's tracks, I'll do that later.

>>1080

you dumpers shape this board and you are sadly not alone

>>1083

How am I expected to install a Propreitery Flash Player? Post a link to a .wav or something. I'd gladly listen to them if I could.

>>1077

Also, I strongly recommend you center the lead synth. If there's a lot of low end in an instrument, cut the ones below maybe 100 Hz in one track and above in another, then center the bass one. I'n 90% sure this will improve it.

https://soundcloud.com/tinseltopia/wavering-light-original-mix

Will comment on more once I get back home to a decent internet connection.

I've only been producing for a little over a year, pls be harsh, the chords are a little jarring to begin with but do work once you accept them

>>830

Dude I love iteration 14... fucking dark as! Dunno what else to say that could improve it

less excuse, please

>>1072

I recommend playing around with reverb and the other various plugins to widen up your sound a bit; try layering sounds as well. Followed, as I love seeing the growth that new producers go through.

>>830

Iteration 14 is great, can't imagine why you'd wanna scrap it honestly. If it's available for download, I'm actually going to download it tonight, after work.

>>1060

I mean this in the most positive way, This makes me think of like, batman beyond, and other 90's cartoons that where using industrial rock/electronic stuff for intros and music.

and that's not a bad thing, it's just an observation. that's actually pretty damn good. feels way better than what i've been doing.

>>1098

Thanks for saying as much. I just feel like... I dunno it's too repetitive, it's not a style I particularly enjoy listening to as much but seemed to be half-competent at.... it's a bunch of things. I don't have a download of that enabled because I figured, it's one of my better things, when I have about an hour or so of music, I'll remove it from soundcloud, dump it onto bandcamp as pay what you want, and start putting individual tracks on soundcloud again, because that's what I did for my previous album.

In other non-reply news, I have started experimenting with oscilator sync using sytrus (hooray seamlessR 75K tutorials for showing me that's a thing and what's actually happening.) and have found some new ways to make crazy metallic sounds with it. Also found how to do other crazy metallic sounds with a phaser. based on that I've figured out what causes those and it's what I read before but never understood how to do, and that's "Inharmonic harmonics" IE higher (and lower) harmonics which are not square or saw harmonics, and are not rooted as a multiple to the actual fundamental.

after some more experimentation with this, I might, MIGHT be able to create a harmor patch that can re-sample and "metal-ify" by re-sampling if the sound was in the right key initially. but I am not 100% sure because I'm not sure how to do custom filter shapes, or the way in which keyboard tracking functions (which is why I wouldn't just use a phaser or comb filter) and I'm also pretty sure that harmor doesn't create non-fundamental-based harmonics at all, and you have to re-tune other harmonics, which means I'd have to use a combination of prism as well, and I'm not sure if you can do keyboard tracking with prism, I've never checked. otherwise you'd have to do ONE note that's metallic and then re-sample THAT.

I mention all this because once i've got a few examples I may just dump some of the results from testing here, and maybe .rar some patches and upload with puush and share them with a bit of documentation/notes.

that is.... if I can get any of it to work or be useful. It's been my experience that creating these types of sounds through raw synthesis is one of the hardest things to do well. (that and neuro and a "good" hardstyle kick [supposedly])

and yeah. i've disappeared for a while. i've been.... pre-occupied with non-musical things.

>>1099

welp. In reply to myself...

i just decided to try to work on that patch, and comparing the in-harmor phaser, vs an external phaser, it simply can't be done in harmor. at all. because of the way it handles additive synthesis, with a finite number of partials, it doesn't create the necessary partials.

I got it working with the harmonic/frequency multiplicator but that doesn't work for resampling the same way due to moving partials in resampling, and it destroys the resampling by not including harmonic movement (scale on resynthesis).

I started to get a few ideas for how to fix this by using harmonic prism, and you could infact get those partials that way, but you do so by moving OTHER partials into those spaces, which further degrades the sound in unexpected ways, which makes it worthless for resampling.

you could layer them, but then you'd be adding a generic metallic tone to a sample, which simply doesn't sound the same.

you could theoretically set up custom filter shapes, but again, limitations on what harmonics are where, and you're simply missing those harmonics due to the way in which the harmor filter works (accentuating partials rather than filtering output)

So in other words, Harmor is largely incapable of creating metallic timbres

I then created a quick metallic pluck in ogun and re-sampled it in harmor and.... holy sound degradation batman, I found something harmor can't resample correctly.

the only thing harmor can do metallic is plucks using the multiplicator and setting it to 1/x and 4.something/1. With X being 4 if you're trying to keep a large number of partials and having the same obvious root note (surprisingly 1/4 and 4/1 don't sound the same as 1/1 and 1/1. Not sure why that is) and where "something" for the decimal on the 2nd one, zero has no movement, and adding a decmal detunes slightly, adds movement similar to unison, but also compounds with unison. and mind you this only sounds really "metallic" with pluck or other filter sweeps.

So it seems i'm back to the drawingboard and have to work this out purely with FM, Ogun, and Post effects.

Though someone could easily shortcut this if there is a way to accurately keyboard-track phase position on a phaser. about 17-18 poles with the phase held in the right position adds a basic metalic sound, and key-tracking it would let you pitch it rather than sound like a sound playing through a metal tube.

and now this has given me a headache. I'd have rendered out some of the results of my testing but it was almost all ass. once i've got something worth showing, i'll post it. but i'm done for a while. i'm too brain fried. Just thought I'd share.

>>1107

That's a shame. Let us know if you find something that works, m8

>>1124

well I got some stuff working as plucks with FM pretty easily.

Operator 2 must be

Not a multiple of 2 (or it will sound 'woody')

not an exponent of 2 (or it will just sound like a pure tone)

Not divisible by operator 1 (which it is modulating) [or it will be a tone]

bigger differences between Op 1 and Op 2 create better results, but only to some extent.

Never use 100% mod. i've been doing most of this with envelopes that never pass 30%.

setting operator 2 to be a sine or triangle works, but once you get into using a saw and it goes from being FM to oscilator sync, things get weird.

it's pretty rudimentary though.

lets say you're using Op 3 on Op 1 to induce a vowel effect to it (modulating using a saw with higher harmonics added) and then you try to make that metallic with Op 2. it works, but only for a certain range, after which it becomes so much high end noise.

but over all using ratios between Op 1 & 2 like 7 and 17, or just about anything and 36, and it works great.

the higher Op 2 goes, the more sharp the sound, but you don't need much FM-ing.

If you use triangle waves you should have a finite number of frequencies, which means harmor *should* be able to re-sample this. Should. not sure yet.

Sadly, the only thing i've been able to make is like steel drum/xylophone type sounds, and I feel like sitting down and talking to the folks at yamaha that made all the presets on the DX7 would be able to tell me WHY you would use particular frequencies for different things, because the old-school seem to be fucking wizards at this point.

https://clyp.it/5kkc2adn

I just made this, and I like it.

>>1153

I liked it too,a lot actually.Have no ideas of what you could improve in it.Sorry.

>>1153

Nice, but I'd appreciate more unique and interesting percussion, especially the hat and claps. The best in my opinion would be if the rhythmic elements were all pitched and blended into the melody.

>>1153

>>1157

agreed

very unattractive sounds, not just percussion, and that really drags down everything

it's very disjointed and fragmented, probably mostly due to the former issue

has some potential but really not there yet and needs to some serious cleaning

also dvs saxophone?

>>1154

>>1157

>>1158

Thanks guys. I'm a sucker for cheesy old drum machine samples, and I'm not sure if I'm ready to give up this addiction.

The sounds are also unattractive because I'm not using much more than samples and synth presets (and yup, thats dvs saxophone).

I've seen a few responses to my music call it 'disjointed', which sucks because I want to be able to switch between different sections/melodies smoothly and effortlessly.

I guess what this all boils down to is that I should learn some sound design, and make my sounds less grating.

>>1159

Yes, and always let one catchy melody or two (if you can do it, one fast and one very slow, for example) dominate, or leave it to pads and the chord progression tonset the mood for a while.

First attempt at EDM (I don't know about genres and stuff).

https://soundcloud.com/audiopia/excerpt-for-musicprod-time-cascade

https://soundcloud.com/audiopia/second-excerpt-for-musicprod-time-cascade

I'll put the TL;DR up here:

>Specific advice/suggestions on arrangement and mixing plox

</tl;dr>

Details:

It's far from finished, and it's more of a practice/fun project to take a break from my usual folksy punk/rock, but I'd still like to finish it and be able to call it completed. I want to produce music in a wide range of genres under this name (Audiopia) on the side, because without it, I feel imprisoned in my rock project. At the same time, I want every album/EP/single I upload to be of decent enough quality for someone to listen to it more than once, even if it's only a dozen people.

I don't have a lot of experience with mixing and sound design, but I can hear that it's definitely not optimal (for that reason). I suspect I might have to replace some of the instruments and take a different approach to mixing, but I also feel like I'm on the right track.

I'm looking for advice as specific as possible, such as:

>too much compression here and here

>this instrument is too loud

>this synth gets in the way

instead of "this part is cluttered." I can tell it's muddy, but I don't know how to fix it. I already have tons of automation clips, and I don't know what else I can do to tidy it up.

I can't get the sound I'm looking for without adding an excessive amount of instruments. In addition to the hard synth, there's a simple sine pad, and in addition to the synth that's introduced at the beginning, there's several other synths playing the same melody (sort of hidden, but they're there) just to add to the "impact" of the drops and such, but of course it's at the expensive of clarity.

So how do I proceed? If I finish the arrangement now, I'm afraid the process of correcting my mixing mistakes later on will be very difficult and demotivating, as I usually will rather do the mental gymnastics of convincing myself "this is as good as I can get it" than allow myself to delete anything.

Also, I'm not necessarily going for easily enjoyed music. Unless the occasional detuned stuff (for melancholic effect) and experimental elements not included in this short excerpt are a huge turn-off, I'll keep them in an attempt to define my own sound. The violin is absolutely non-negotiable. ("Write to express, not to impress," I guess. Struggling with finding a middle ground.)

And if it's absolutely atrocious to everyone but me, please tell me and I'll try again, and if that fails, I'll call it a day and move on to another genre. Can't spend months or years practicing on genres for such an unimportant project. This is not a project that I care very deeply about, so don't be afraid to destroy my spirit.

OH! I also need to know how I can make one of those long, high pitch "tsssssssssssssssssshhhhhhh" effects/crashes that I've heard after drops or whatever. Or where I can find one. Do you know what I'm talking about? A percussive sweep that adds to the initial impact of important parts. Right now I just have a sigh with lots of reverb and some EQ.

thx

>>1167

I can't really say much, but I find that sound that comes after the violin, that kinda sounds like a siren, annoying.

>>1172

Thanks, I'll go easy on the compression. I haven't automated it yet.

Also, is this the case all the time or just during the last few seconds of the buildup? What about the very first bar and after the drop?

>>1159

music being disjointed, and being able to switch sections/melodies smoothly isn't a sound-design issue, it's a composition issue. Sometimes that disjointed-ness can be desirable, but not I doubt anyone wants it all the time.

Even ugly simple sounds can make good music, Just look at Kraftwerk or even the drums in any given prince song. hell, if I wanted to be snide I could say look at the existence of chiptunes in general. 9 times out of 10 it entirely boils down to composition, and mixing/mastery, not sound design. at least, as far as making something that the average person can enjoy anyway. that's not saying sound design isn't important, because it goddamn is, just saying sound design isn't why this is so cluttered.

>>1195

If you want to know what eiffel 65 that reminded me of,

The edge

move your body

now is forever

dub in life

silicone girl

your clown

europop

Basically the majority of the europop album EXCEPT the one song that got a shitload of radio play, blue, because that one was fucking annoying. even then, silicone girl is a bit annoying and move your body is le generic dance tune, which makes me wonder how blue was the one that was on radio, especially since europop is what the album got it's title from.

so in summary

bouncy synth slap bass that keeps rhythm and key

basic kick

cheesy low-key synth [not low key like low notes, but low-key like subdued or relaxed]

keep a bouncy sort of post-disco rhythm going

Add stuff for atmosphere

vocal hook.

piano, strings, or both.

oh yeah, and a couple of those filter-sweep crash things. they open like half the songs with different ones of those.

It's like, It's simple, so very simple, but everything is tightly produced and polished, and it just works, and if any one thing was out of place it would all fall apart, but it's all there. It's still a sort of synthpop disco thing. with like,a hint of hiphop on a few songs (like living in a bubble)

Like... you get what I mean. it's probably not what you'd aim for at all, given that you're on /musicprod/, and appreciate aphex twin and squarepusher, it's quite a shift, from hardcore breakcore and technically stunning EDM, to mass produce-able mainstream-ish pop radio back when cher still said the "believe" vocal effect was a vocoder and not someone really fucking with autotune and turning her into T-Pain before T-pain was a thing. (eiffel 65, and Eve 6 both did that in different ways too,)

bluh, i'm rambling and just reaching for things to say.

followed on soundcloud.

anyway. yeah. cool.

Also I remember now that I haven't made anything serious in..... shiiiiiiit 6 months. only thing i've made in that time is trying to recreate a few synths from other tracks, and I did badly at that.... bluh..... I need to get inspired.

what do i do if i postd pic by accident n dont know how to delete,

sry bout the nsfw

>>1201

>>828

>https://clyp.it/vd0znlif

lead came in hot but dope,

bass came in hot again still dope,

real gud intro music

dope stuff, first 2 soften transitions

https://soundcloud.com/rustie

>>830

>https://soundcloud.com/milest3hr4t/itteration-14

https://soundcloud.com/milest3hr4t/trigger-warning-track-2-wip-20

kick solid

guitar rockin but it sound like it jus litle weak

wo ky a s b ss-----..

dunno lyrics culd even add to, good stuff on dat

second track--

lil to hard on on "tranformers bass"

i dunno gud snare,

not song for me still well done

>>831

>https://soundcloud.com/milest3hr4t/mother-fucking-gentlememe-wip

on first track drop sax, do half time, double bass bring sax in stripper club music, i dunoo but sumething like that, sax gud

\

https://soundcloud.com/milest3hr4t/mother-fucking-gentlememe-wip

not 4 e.

gud bass in 2nd part

>>835

nice dubstep

>>850

real guns n rosesy feel, nice

>>850

>https://clyp.it/qeteknoe

90s rave feel,

>>847 i dunno , not quite trap not quite rock, undecided on that one

>>957

>https://u.teknik.io/LwaaDw.wav

nice production very crisp

>>1074

>https://clyp.it/323y2rhk

nice very crisp dnb

>>1072

i dunno not my type of music maybe future elveator music?

>>1193

um that house one in banging u shud finish it

>>1195

lil 20 bpm to qik for me, but agin crisp stuff gud werk

>>1201

help MODS

MODS

please help i made error in selection of image

>>1215

Repost your comment.

Also, you can delete your own posts on this board.

>>1199

it's cool don't worry about it :P

you sound really knowledgeable, and probably like you know more about the scope of things than i do when it comes to more commericalist music - which is a pretty good thing to know stuff about

i might give an e65 type thing a go sometime, just to experiment with. if i do i'll definitely post it here for you lol

it's not something i would've thought about before coming here/reading your posts, but it's certainly something i'll keep in mind from here on.

letscollabbro

>>1204

Yeah, I do not know how to do good guitar amp stuffs. I am not a guitar wizard. I took my cheap $50 used guitar from guitar center, the cable that came with rocksmith (because practice playing the guitar, in video game form? sign me the fuck up), because it works in FL, and then.. Okay, i have a dry signal with no amp or effects, no EQ, and it's a crappy guitar that's all busted. How do I make sound good.

And then I threw on a ton of gain, a waveshaper for distortion, an EQ that I had no idea what I was doing, and then some convolution reverb with a guitar amp impulse to do cabinet simulation, but I had no idea what I was doing... and this is just how the sound came out.

Also writing 5/4 as 4/4 with quintuplets is really hard. like, I did not understand how hard that would be.

as for the bass that kicks in out of nowhere with it... I was at this point where I didn't know what to do so I just started throwing random shit on as layers. I originally planned on that track being an industrial rock/math rock/djent.... thing, but it turns out, I lack the composition skills to do that, much less the ability to make a good guitar tone to even start with.

so that's kind of on the backburner... indefinitely. at least as what i originally hoped to make that into.

>>1205

>on the first track, drop sax---

There.... is no sax? 100% synths?

>>1208

Do you know what this makes me think of?

https://www.youtube.com/watch?v=sMXjtvMAFlI

I miss shit like this. does anyone do this anymore? if so point me too them please.

>>1211

How crisp is it?

a rose dipped in liquid nitrogen and then slammed on a table in slow motion.

>>1225

honestly, E65, and more-over europop as a genre of music, is mostly just what disco turned into.

Disco stopped being a thing in the USA with disco demolition night, but the rest of the world kept making disco because they're not insane. It is through disco continuing to exist that let daft punk become famous, and it's also why 80's synthpop existed.

disco > europop > synth pop > foreign songs start charting in the US as "quirky one hit wonders" and then dominating some pop-charts.

Honestly though, if you have not already, check out Ishkur's guide to electronic music

http://techno.org/electronic-music-guide/

as for "commercialist music" the key to that is that you're sitting down to go "what do people want to hear?" rather than "what do I feel like making" but then you use all the same tools and skills to accomplish it. mostly it involves looking at examples and breaking it down into what they have in common, IE a formula, then you use that as instructions to make new stuff.

It's not even so much that I'm "good at it" as much as it is is that I was born in 88, my mom and stepdad had very different tastes in music, my dad and step mom had also very different taste in music, plus my grandparents had even more tastes in music, resulting in like 7 parents-worth of inherited music, all from the wrong era, PLUS what was on the radio on many stations in the 90's and 2000's, plus the birth of internet music.

collectively I have listend to a damn lot of music, both popular and unpopular, bot quality, and not quality, and i've noticed there's a lot of high-quality unpopular music, and low quality popular music, and when I think about it from a production standpoint it kinda makes my eye twitch.

I've seen so many of the cliches and I recognize so many of them, that you could probably name a genre, I could name the different parts of it, and tell you the basics of exactly how to make that genre, simply from hearing so much of it.

I also like to think that this isn't really.... you know... a unique skill. I mean, Loads of people listen to a lot of music, it's why people get into making music, i'm not a special snowflake. Also Some people might say I have objectively bad taste in music, I have both ITAOTS and Limp Bizkit on my listening playlist, which I listen to in windows media player because of a mix of nostalgia and giving no fucks.

I'm saying all this to basically say, Don't get your hopes up for my levels of skill, because they are not much. it's just a pile of generally useless trivia and life experience from being a 27 year old NEET with a dysfunctional family, who has a hobby of making bleeps and bloops and wubs and twangy noises in between playing videogames and looking at porn, while being a generally worthless human being.

Like, I have all this knowledge that I can't use because inspiration is often more important.

https://clyp.it/0rfdmuid

Blunt and harshness appreciated. As long as it is constructive.

>>1236

And that's how you fuck up cap coding.

>>1153

>>1159

https://clyp.it/5wm5turg

same guy reporting in

https://soundcloud.com/audiopolis/halfway-there

Part of the orchestral finale of a punk song from a concept album I'm making. First attempt at this Disney-ish style. Looking for feedback on the mixing particularly, but all feedback is appreciated. And just an inb4, it's meant to be sort of cliched.

>>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,