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File 135984433957.gif - (35.11KB , 450x163 , dx7iid.gif )
255 No. 255 hide expand quickreply [Reply]
Got a DX7 IID...
15 posts and 3 images omitted. Click Reply to view.
>> No. 276
>>261
Oh crap! The DJX-IIB is dope, allright! But the pattern-scratch slider doesn't work. I opened it, but there didn't seem to be any simple solution. Can anyone please link to the service manual?
>> No. 277
>>276
I refuse to link to it for you because I found it in 2 seconds through google and I refuse to help someone who is that fucking lazy.
>> No. 278
>>277
Please read what I write. The *owner's* manual can be found about everywhere. And I got a hard copy of that, thank you. It's the *service* manual I'm looking for.
>> No. 279
>>278
If it's fucked it's probably fucked. If you know how to solder, open it up and check for loose connections. Otherwise, try contacting Yamaha.
>> No. 325
File 139617067315.jpg - (53.05KB , 660x495 , casio-xwp1-xwg1-main-660-80.jpg )
325
OP here. What do you think of Casio XW-G1?


File 135070038016.gif - (80.93KB , 400x300 , img_1098_2.gif )
218 No. 218 hide expand quickreply [Reply]
Hey /eq/,
Is it possible to digitally get at all close to that warm analog sound without that digital sound most modern popular groups employ?
7 posts and 1 image omitted. Click Reply to view.
>> No. 253
Akai s950
>> No. 262
"com truise" bases his whole sound on emulation of 80s production. he talks about his worklow and favourite plugins in this interview:

http://www.keyboardmag.com/article/com-truise-serves-spaced-out-synth-stabs-in-a-tasty-galactic-melt/147882
>> No. 289
Softsynth wise I recommend Arturia's set up. I find myself using their MinimoogV quite a lot and their Jupter8 plugin is good too. I also know Native Instruments has a Minimoog emulator now called Monark which, though I haven't used it myself, I've heard good things about it.

As far as effects go you might want to look into tape delay plug-ins. EchoBoy is probably the best for cheap as cheap can get. That studer one someone else linked is good too, but goddamn is it expensive and I could never find a torrent of it.

You say you don't want "get this x plugin to do this thing!" but that's exactly what some of these plugins are for. They're built for this purpose, so yeah. I don't know what you want. It's the closest you're going to get without scavenging for vintage hardware and paying hefty fees.

I mean, not to say experimenting isn't good, but you just won't be able to get the same effect via DIY so it depends on which is more important to you.
>> No. 290
Get a 2-track tape deck. Route soft synth output onto cassette tape. Bounce back and forth between tape decks a few times to get some tape saturation on there. Line tape output back into soundcard and load into DAW.

Voila, you have created a "fat" and/or "warm" analog synth and/or drum sound.
>> No. 305
>>290
this


File 134265342355.jpg - (201.10KB , 700x464 , studio.jpg )
155 No. 155 hide expand quickreply [Reply]
Thought the few people who still post here might enjoy a little studio-fetishism.

http://facelesscope.tumblr.com/tagged/studio
1 post omitted. Click Reply to view.
>> No. 172
File 134524779070.jpg - (100.26KB , 717x960 , flylo.jpg )
172
Flying Lotus's home studio. Seriously.
>> No. 223
https://www.youtube.com/watch?v=YnLsxCbF8IY&feature=related

Squarepusher's set up.
>> No. 224
http://fuckyeahstudioporn.tumblr.com/
>> No. 291
File 136830465246.jpg - (26.82KB , 300x278 , 1367794086546.jpg )
291
>>223

That's amazing. I'm a fan of his work anyways, thanks for sharing.
>> No. 297
>>291
>>223
I wonder how his methods have changed since that doc.


Audio kamala.mp3 - (3.72MB - 128 kbps - 44.1 kHz ) Length: 4:04
115 No. 115 hide expand quickreply [Reply]
Today I wrote a song I am proud of.

Vocals not recorded yet, here's the guitar track.
3 posts omitted. Click Reply to view.
>> No. 121
the string noise isnt that bad towards the last half, what kind of mic you got thar?
>> No. 122
You disgusting finnish scum...

The song sounds alright though.
>> No. 175
This is fantastic. Nice work, OP
>> No. 227
Audio Christopher Paul Hodge - The Life and Times of J Douglas Shanks as Seen by a Friend - (1.48MB - 128 kbps - 44.1 kHz ) Length: 1:37
227
OP fuck the haters. This is my much worse contribution, to fuel your creativity and provide some perspective.
>> No. 268
Sounds real good. I don't know that it needs vocals


Audio throwrocks - caribbean - (4.35MB - 192 kbps - 44.1 kHz ) Length: 3:10
239 No. 239 hide quickreply [Reply]
ATG said I should make a thread when my band starts recording. We are making some EPs. We ain't done. The guitar on the left channel CLEARLY needs to be re-recorded. Please be specific when you tell me how terrible my punkrockanarchy is.
This is "There is Nothing New Under the Caribbean Sun"
>> No. 240
Audio throwrocks - puke - (2.82MB - 192 kbps - 44.1 kHz ) Length: 2:03
240
"Puke in Fear"
This is missing a guitar solo. The guy who does it is working two jobs and has only been able to join us for one recording session. Honestly I just want to to it myself.
>> No. 241
WARNING SUBJECTIVE OPINION AHEAD


Regarding the first tune: I love that ride/hat/whatever it is cymbal, but it seems to be taking away from the snare during the quiet bits. That high pitched sound with the sharp attack cuts right through the mix and makes the snare and guitar riffs sound comparatively smaller. I'd say it's perfect throughout the main body of the tune, though; sometimes different parts just need different mixing.

Bear in mind that my background is in electronic music, where the snare is far more important rhythmically than ride cymbals, so I could be biased. In fact, I know I am; I still think the ride is a bit too sharp during some bits though.

I'm sorry that I can't elaborate further, but I've never recorded punk rock so I have no idea how to do it. For what it's worth, I'm listening on KRK Rockit 8s in a tiny room with no bass traps.
>> No. 244
>WARNING SUBJECTIVE OPINION AHEAD
Hey now, I appreciate your input. I'll talk to the drummer about what you said

SAGE has been used.
>> No. 248
File 135755805872.jpg - (1.57MB , 1510x1510 , Cover.jpg )
248
If anybody wants it: http://throwrocks.bandcamp.com/album/omgfsyc
>> No. 257
>>239
Quite enjoying the first track atm.

Not a lot to say really, your sound is pretty cool, Keep it up, Kyduh!


File 135831384087.jpg - (322.09KB , 700x438 , new.jpg )
250 No. 250 hide quickreply [Reply]
Hey Ladies and Gents. Im a German RnB Singer and released a new Single! You can hear it On: vibedeck.com/Streetsoul

Facebook: /officialstreetsoul
Please like and Comment!


File 134011962862.jpg - (1.33MB , 1440x1440 , Booklet.jpg )
125 No. 125 hide expand quickreply [Reply]
Howdy /eq/; I have been making a good deal of drone music in the past few years, but my knowledge, skill set, and creativity have outgrown the capabilities of most D.A.W.s I know. One idea that I am hitting the conceptual dead end is trying to pursue subtractive synthesis into music. So for example, lets say you have recorded 2 electric guitars… if you play guitar 1 and guitar 2 at the same time they will be "additive".
To be subtractive, my idea is that while guitar 1 is playing, you get the carrier frequency of guitar 2 to be eliminated ifrom the sound of guitar 1 (and vise versa). So while one noise chooses how to build the sound the, the other noise chooses how to remove from that same sound.
I hope I explained this well enough, does anyone have any ideas on how I can go about this? (Preferably a plug-in of sorts).
Thanks.
picture unrelated
3 posts and 1 image omitted. Click Reply to view.
>> No. 132
File 134047011410.png - (432.39KB , 500x500 , tumblr_m42w289SXS1r43umjo1_500.png )
132
>>131
Exactly, I explained it in terms of static so that anyone reading could understand it better, but ideally I would like to put it in music/ recorded instruments. It is kind of hard to understand & explain for I have never heard it done before (pun intended). I am just thinking of how beautifully intricate two classically acoustic guitars could sound with/(out?) one another.
>> No. 173
File 134586123280.jpg - (15.09KB , 287x320 , 409169_152456868195999_100002950609127_213725_9886.jpg )
173
BUMP has been use.
>> No. 226
I'm sure you could exploit any number of vocoder effects or hardware vocoders to do this. Vocoders work by mesuring the change in strength of certain frequency bands of a signal, then using that information to stop or pass those bands in another signal. for example, a vocal sample as the carrier being modulated by an organ chord would only pass the parts of the vocal sample that fall into the spectrum of that organ chord.
>> No. 228
Subtractive synthesis refers to the filters.

Additive synthesis starts with sine waves and adds them together. You know this already. Subtractive synthesis starts with waveforms with loads of harmonics and subtracts those harmonics with filters.

But I like the idea, you just want to subtract the frequencies of one signal from the other. If you're into SC, Reaktor, Max etc it would be simple enough; just take a FFT of both signals, subtract one from the other, inverse FFT back out. Can't think of a plugin that does this, though.

I don't think it's going to have the effect you want, because two guitars are never going to have exactly the same frequencies in play. Apart from the different harmonics in the signal chain, you've got things like tuning and subtle string bends to worry about.

Intriguing, though.
>> No. 246
>>228
That is a good point, but I think that this could be easily done with midis.
Could you elaborate on your idea a little bit, I do not fully understand it.


File 134137180411.png - (86.69KB , 736x642 , knick-knacks.png )
141 No. 141 hide expand quickreply [Reply]
/eq/, you're slow but historically you have been home to some skilled and knowledgeable people so I come to you for help.

I've been dabbling with electronic music. Up til now, this has meant programming a little sequence into my old drum machine and then fiddling around with my synths. Obviously this is very limited and gets old fast. I'm looking to expand my capabilities to create a sound that combines electronics, programmed beats, and live percussion. Basically, I want to be able to sample and multi-track myself in order to create multi-layered music with the eventual goal of performing live.

Right now, I have 2 synthesizers, an Alesis HR-16 drum machine, a 16" floor tom, and an 8-in 2-bus Behringer mixer. My basic idea is to run everything, including the mic'd up floor tom through various effects pedals into the mixer, which will essentially be the central hub from which I control my sounds. I'm also considering getting a different mixer with on-board effects processing. Based on some advice I got on 4chan's /diy/ board, I've also been looking into getting a Boss RC50 or similar multi-phrase looping station in order to create quantized, layered loops of my drum.

However, I've realized that I am bottlenecked by my synths. Both are old, many of the sounds are cheesy, and only one has any sampling capability. This limits things on the melodic end. There's only so much a guy can do with an 80s Yamaha run through distortion or reverb; I'd like to have greater versatility and variety and I'd very much like to include warmer, more organic instrumentation. When it comes to sequencers, I'm clueless and that's what I'd like some input on. I'd like a sequencer - either in keyboard form or something MPC-ish - that I can use for both live sampling as well as pre-load with some sounds that I can't recreate live. I'm not really interested in using software, though it's not completely off the table. Generally, though, I'd like to keep this hardware-based. Any suggestions or input would be greatly appreciated.

One thing that was very helpful in my /diy/ thread were the couple musicians who posted pictures and explanations of their home studio or live setups. Even though I'm not particularly interested in incorporating a laptop, if your setup includes a Macbook running Ableton or something, you are more than welcome to share, as anything that gives me a greater understanding of my options and the equipment others use will make me very happy. The pic I posted is a collage of the stuff I have so far, as I don't have a camera and can't snap a pic of my actual setup.

I know this is a long post, but I appreciate anyone taking the time to read through it and make an effort to help out. Thanks.
10 posts and 1 image omitted. Click Reply to view.
>> No. 208
>>207
I know what MIDI is (what gave you the impression I didn't is a mystery). This thread was about sampling and sequencing without using a laptop running a DAW.
>> No. 229
My live set-up is an MPC2500 and and Electo-Harmonix 2880 looper, plus a bass guitar and sometimes acoustic percussion.

The 2880 is MIDI-syncable, so it follows the MPC's clock. It also responds to MIDI CC messages, so you can program rudimentary things like Track Mutes from the MPC. It also has real faders for real mixing. It's not the best looper in the world, but it's the cheapest one that has MIDI.

Btw, if you fork out for JJOS, the MPC can be coerced into doing live looping. I dunno if the 1000 can accept a footswitch, though, which would make it kinda pointless.
>> No. 230
>>229
OP here. Thanks for the info, that was very helpful.

>The 2880 is MIDI-syncable, so it follows the MPC's clock.
My drum machine and MIcroKorg both have MIDI, so that was next on my agenda, particularly so I can get the arpeggiator on the MicroKorg sync'd with the MPC or Alesis tempo.
>if you fork out for JJOS
Mine came with JJOS 3.12 already installed actually, which is nice because I've heard it is much better than the stock OS.
>the MPC can be coerced into doing live looping.
Good to know. I've been wondering whether I need to fork out for an RC-20 or a Line 6 DL4 or something for live looping.
>I dunno if the 1000 can accept a footswitch, though
It does indeed have a jack for a footswitch. Thanks for the JJOS/footswitch info for live looping. It would be great if my MPC could handle synth/drum sequences, samples, and live looping, as that would save me quite a bit of money. Just depends on how organic the live looping function is.

Do you have any experience with live looping with your MPC? And if so, how did you find it?
>> No. 231
>>230
>Do you have any experience with live looping with your MPC? And if so, how did you find it?
A colossal pain in the arse, to be honest. I had the 2880 first, so never needed to get into looping on the MPC, I just know that it's possible.
>> No. 233
>>231
Cool, thanks. I'll fuck around with it and see how it goes. If it's awkward and shitty, then I'll fork out for a multiphrase looper of some kind.


Audio cool_riff_pod_and_double_bass_tracking_looped.mp3 - (1.30MB - 320 kbps - 44.1 kHz , cool riff pod and double bass tracking looped.mp3 ) Length: 0:34
114 No. 114 hide quickreply [Reply]
This is a rough mix/master I did on a loop out of some riffs I pulled out of my ass to practice some mixing/mastering. I tried double tracking bass (one at normal tuning, the other shifted an octave down).

Everything here is digital, done with amp sims and some simple drum samples (I could've bothered with more dynamics and drum samples, but realistic drums weren't my focus here). If anyone's curious I can post about my signal chains.

I'd like any critique on what's off about this mix/master and what I can do to improve it. I realize it's a bit overcompressed, which is not what I'm concerned about at the moment. In comparing this with other mixes/masters (ie. Meshuggah, Gojira, Cloudkicker, Fear Factory..), I find my mine to be somewhat lacking in presence and width, in spite of trying to squeeze those out with eq, harmonic excitment, and mid/side boosting.

I suspect the excessive bass is taking away headroom with which I could give the rest of the mix more presence. On the other hand the drums sound fine to me in that regard, seeming to cut through well. Am I perhaps using a pair of guitar tones that are too mid-range oriented, building up to a sort of dull mid-dominated sound?
>> No. 134
Overcompressed is an understatement.

Make use of panning and "spread out" the mix.
>> No. 142
>>134
This. Pan some tracks so it's all not coming out piled on top of itself right down the middle.
>> No. 215
Use a shelf to cut the high freq's (10's of Khz), to turn that extra air into warmth.
>> No. 216
Sounds good man, this is a neat riff and I look forward to hearing more stuff from you! That said, you have asked for critique, so I'll try to be a restrained dick about your mixing.

Take that silly master limiter OFF, that's a good start. Different tracks have different needs, so trying to do it all at once with one big compressor isn't really helping anything. You should (IMHO) be mixing with a dry master channel anyway.

All I'm hearing is the lead guitar, snare drum, and a bit of cymbals. If you want your percussion to shine through without losing headroom try giving them a sharper attack - you could use a transient shaper plugin, or just a compressor with a slowish (~150ms) attack to give a bit of a click. Remember to turn off the makeup gain, you're sharpening the transient not bringing out the details.

Should you choose to adopt that strategy, keep in mind that you need one of those transient shapers/compressors for every drum slot unless you're VERY careful / lucky with your compressor settings. I would use one on the kick, one on the snare, and use a very light bus compressor on the whole drum kit to bring out everything else. Careful with the cymbals, sometimes I like to put them on an entirely different track since they don't really behave like drums.


The bass sounds like an absolute mess. This can be good or bad, depending on what you're going for, but I just hear a muddy blur of noise. If you're using your bass for texture, rather than rhythm, that might be perfect - if you want individual notes to shine out, though, or the bass to have any punch at all you're going to have to clean it up. Highpass that guitar, for one, and think about why you doubled your bass. Did you want more dark ambience? Good, carry on. Did you want the bass to punch you in the chest? Well, it's not always about going deeper, it's about the right transients at the right frequency. I'll point you back to the highpass filter and compressor/transient shaper for that.


Disclaimer - I know nothing of metal music at all and I'm just a bedroom musician, so take what I say with several grains of salt. I can barely play guitar and I haven't touched a drum set since high school. Also, my genres of choice are mainly electronic, so I'm usually trying for a VERY different sound than you are and all my advice might be pointless.
>> No. 217
While I'm definitely not as experienced as the posters before me, I second the local vs. global EQing notion! The guitar could use some more mid- and toprange I guess. Like this it sounds cool and garagy, but also unclean.


Audio achordian_unmixed.mp3 - (4.15MB - 241 kbps - 44.1 kHz ) Length: 2:24
150 No. 150 hide expand quickreply [Reply]
Since this board isn't getting any activity, I'm using it to host files I want to show people. This is a tune I made with a bell solo, because guitar solos are overdone. I've only put a few hours into it, so it's not mixed / produced yet.
3 posts and 1 image omitted. Click Reply to view.
>> No. 157
>>153
And yes, all software. All synthesis was done in Massive, most of the drums are from Luthatron's gigantic single hits collection.
>> No. 159
File 134267153977.jpg - (179.28KB , 960x1280 , strawflute.jpg )
159
http://soundcloud.com/aitigie/achordion

That's as good as I can get it for now. Any glaring mistakes I should know about?
>> No. 165
>>159
Sorry for the delay in replying, I was planning to do so about a week ago but then just never got around to it.

I'm going to type a lot, most of which will be minor nitpicky things. I think this song overall is very well done, a novel idea well executed and I don't mean this slew of criticism to imply that the song is poorly done. These are just the little things scattered throughout that I think would have made the already solid execution even better. So to get right to it:

I'm still not digging the drum sound. Something with a softer texture would suit the track much better in my opinion. Contrast is always nice, but in this case the drums sound way too digital and it doesn't mix right. For the kind of drum sound I think would suit your fuzzy synths and bells, look at Sprawl II by Arcade Fire (http://www.youtube.com/watch?v=rH_7_XRfTMs). Something like that would probably mix a lot better in your track.

The song overall felt a tad rushed to me. I liked everything that happened in it, but all the changes seemed to come and go so fast. The interlude starting at 1:22 could go on longer and would have been more effective if it were bolder and more pronounced - in addition to being longer, a key change or even a drop in tempo would have given that section more presence. The return of the drums at 1:35 comes on so suddenly that it feels like they just drop in mid-loop and then drop out again a few seconds later. That time might be better used in a slightly different way: either dropping that brief return of the drums completely so that when the groove kicks in again at 1:52, the contrast is more climactic; or, instead of having the drum loop pop in exactly as it has been for the whole song, have a slower, different drum pattern to give the interlude more of its own identity; or, finally, instead of the drums coming in exactly as they were before and then quickly disappearing, have the drums come back more gradually, building back up to a false climax, then everything drops again just like you did at 1:47, making that sudden burst as the groove returns at 1:52 all the more powerful. The interlude is so brief and there's no "build" to it and not enough contrast with the rest of the track, so the effect falls flat. For excellent use of an interlude then a bursting reemergence of the song's initial energy, listen to TV On The Radio's Wolf Like Me (http://www.youtube.com/watch?v=j1-xRk6llh4). Pay attention to the tempo and key changes.

I really like the way the organ drops as the bells come in at 0:49. It's a subtle touch and works very well. I also really like the bell sound. It's pretty and both mixes well and contrasts well with the buzzing synth and organ. My only complaint about the bell part from 0:49-1:24 is that you need to remember what key you are in.

One thing that felt backwards: the bell pattern from 1:03-1:23 was faster and more energetic than the pattern from 2:07-2:35. The sprightlier bell rhythm at 1:03 would have been better suited to the climax of the song, while the more sparse pattern at 2:07 would suit the beginning better. As it stands, compared to the first third of the song, the last third felt anti-climactic to me, like the song - bells in particular - was losing steam. Unless you were going for a bit of anti-climax...

I love the synth sound. From the way the track opened, I had a feeling you were a Deadmau5 fan and I wasn't surprised to find a Deadmau5 cover on your soundcloud. You've done a good job of absorbing elements of his music that you obviously like without biting too much and that can be a tough balance to strike.

Message too long. Click here to view the full text.
>> No. 168
Audio analog.mp3 - (4.41MB - 249 kbps - 44.1 kHz ) Length: 2:29
168
>>165
Hey, thanks a bunch for the support and critique! I'll be back here next time I'm producing, I've read it all but I'd like to go through your tips one by one.
To answer your controller question, I do use some MIDI controllers (APC40, Axiom 49) but I generally quantize pretty harshly (8ths and triplets). I'm working on my keyboard skills, so hopefully I won't have to do so for much longer.


On an unrelated note, the file I've hosted is a WIP that wants to be two different songs.
>> No. 214
The one major criticism I would offer is that you are too much in the mid-range, which is going to limit the dynamism of your music. More contrast between the low end and high end would make this much more interesting to listen to.


File 134378879910.png - (355.31KB , 600x600 , Sondi.png )
166 No. 166 hide quickreply [Reply]
http://soundcloud.com/sondiame
Is he good?
>> No. 167
House isn't really my thing, but the production is solid, if not innovative (though he makes no pretense of being innovative; all he says is that he loves house and feels compelled to make it). He's 15 and he's only been producing music since January 2012 apparently, so I'd say yeah, he's doing alright for himself.

It's always cool to see kids that young having fun with music and actually making something listenable.


File 134353282584.jpg - (128.36KB , 1800x1272 , meh_ro4758.jpg )
160 No. 160 hide quickreply [Reply]
I figured the good people of /eq/ would know this.
I am looking for a plugin in synth that I can import a sound into and the synth pitch changes it for me for play back when triggered.
As of right now I am pitch changing each sample myself and then mapping it in for midi playback, it is a bitch.

I would be will to spend to money on the product.
Oh, I opperate on universal binary macintosh 10.4.11

Thank you.
>> No. 161
File 134369287022.gif - (1.80MB , 800x600 , tumblr_m6z4ae3iBW1qd2ctuo1_1280.gif )
161
I actually found one already.
If anyone is interested google "yellow tools independence free".

It handles all of the pitch and velocity changes from one sample, and it comes in a host of formats (pun intended).

SAGE has been used.
>> No. 170
Absynth 5.
DERP
DERPPPPPPPPPPPPPPPPPPPPPPPPP

SAGE has been used.


File 134102532622.gif - (260.61KB , 305x294 , 1323922549252.gif )
135 No. 135 hide expand quickreply [Reply]
Hey guys, I am wondering if there are/is resources that I can use to produce electronic music that I will then be able to legally distribute. Something like individual notes/hits that I can edit to my liking and tie into a complete product or whatnot. Have started messing around with DAW's recently so I need resources to work with.
4 posts and 2 images omitted. Click Reply to view.
>> No. 143
>>138
>>139
>>140

Thank you all for the replies. Since I am doing it as a hobby with no intention of making any sort of gains with it, monetarily or otherwise, I don't really have much of a budget to put towards it. Though >>139 midi controller was a damn nice looking machine, I have decided to go with the small midi keyboard that >>140 mentioned his friend as having. Good form factor, price, and I like the fact that its a pretty nice representation of an actual keyboard, even though I have never taken the time to play the piano before. Hopefully I will have something I deem worthy of sharing with this board at some point in the future.

As an aside, again on the topic of VSTs, is there a particularly useful one for creating powerful/punchy bass lines? I have been messing around with a few of the free ones that I have downloaded from the internet and I just cant seem to find anything that lets me get a really heavy hitting percussiony bass line. Something like what Dada Life has in many of their songs, such as Dont feed the Dada, or White Noise / Red Meat and Happy Violence. I suppose they use more than a simple VST, using filters and whatnot. They also seem to have their own filter they have produced or branded, the Sausage Fattener. Looked interesting.

Thanks to any who take the time to read through all that and send a reply my way.
>> No. 144
>>143
You're going to have to play with pitch, effects, compression, etc to get the bass sounds you want.

Glad I could help you in choosing a MIDI controller.
>> No. 145
File 134159570166.jpg - (341.72KB , 861x800 , 1249540891WV38uBw.jpg )
145
>>143
Seeing as you are trying to make electronic music I would recommend Ohmforce Ohmicide, It seems to be quite popular in Drum and Bass music alongside Dubstep. It uses a fair deal of cpu, but it really packs a punch if you spend time tweaking it.
>> No. 147
File 134160908694.jpg - (646.25KB , 2400x1600 , AKAI_LPK25_+_LPD8.jpg )
147
>>143
I ended up talking with my friend with the LPK25 the other night and got a little more info on how he uses it. He uses it in tandem with an LPD8, which has 8 pads and some knobs and shit. Same price as the LPK25.

He uses the pads on the LPD8 to trigger longer scenes and sequences in Ableton, and uses the knobs for effects, equalizer, and panning. The LPK25 is used for triggering smaller samples or single notes; basically, played like a keyboard. From what I gathered, the LPK25 is pretty versatile but there are still a lot of things it can't adequately cover that will need to be done with mouse clicks in your DAW (triggering effects, equalizer and so on); that's fine for production but if you want to perform live or just have a more fluid method of building tracks, pairing it up with an LPD8, which is better for handling effects and allows you to trigger more sequences works pretty well.

This probably won't be something you'll want or need for a while yet, but if you find yourself hitting a plateau and you want more on-the-fly options, especially for triggering effects, pairing up the little keyboard with what is basically a tiny APC40 seems to open up some new windows and improve workflow. Larger sequences are attached to the LPD8's pads, effects and equalizer attached to the knobs; smaller samples and individual notes are tied to the LPK25, which basically functions as your melody-maker.

I should work as a salesman at Akai.
>> No. 148
>>144
>>145
>>147

Hey, thanks a lot to all who have answered my question and more once again. That LPD8 looks pretty neat as an easily portable controller with pads and knobs. Pretty neat.

You should definitely be on their sales team.


File 133992656377.png - (247.46KB , 1920x1080 , shittools.png )
124 No. 124 hide quickreply [Reply]
I've done every thing I can think of to get this shit to work.
(in no particular order)
Formatted, re-formatted not using the quick reformat option, trashed preference files, uninstalled, reinstalled, uninstalled, fucked yo mamma, reinstalled again, pulled the HDD out and put it back in, did some other stuff, rebooted, yelled really fucking loud...
Stupid fucking pro tools still won't recognize my hard drive.

Does anybody that has any experience with pro tools know what the fuck is going on?? This shit is retarded.

The drive I'm trying to get to work is labeled 'secondary', I've formatted it in NTFS, exFAT, and FAT32.
I've shared it with everyone.
I don't get how pro tools works, and I'm not about to shell out a shitload of cash to find out.

I've got a delta44 and I've tried using Ardour but it doesn't exactly work right. As in the click track doesn't sync with anything (the last time i used it was thanksgiving i believe).

Help me /eq/

Message too long. Click here to view the full text.
>> No. 127
>I need a simple solution for recording my music and it's driving me fucking apeshit.

Download Reaper, tell pro tools to go f*ck itself.
>> No. 130
>>127
Done.
I have downloaded Reaper before, but I guess I never actually tried it, just started it up and wrote it off for some reason. It's pretty sweet.

Got any recommendations on VSTi's? I'm trying to find some kind of basic instrument pack but having no luck.

Thanks, by the way.
>> No. 133
>>130
Just google "free vst plug ins" and you'll find a ton of stuff. I've found a lot of really good free synths, 8-bit chip instruments, stuff like that. Here's one link for free: http://freemusicsoftware.org/category/vsti

Honestly most of mine at AU, since I mainly use Logic on a mac, so I can't recommend many by name (also, I often forget what I have).

If you're the sly type, there's plenty of torrents for the super expensive plug in packs. Not that I condone such actions ;)


Audio Rollie - The Run - (4.38MB - 192 kbps - 44.1 kHz , The Run.mp3 ) Length: 3:11
106 No. 106 hide quickreply [Reply]
quick update on some of my latest tracks. lemme know if ya wanna collab or have request for a tune
>> No. 107
Audio Rollie - Space Orchestra - (3.39MB - 192 kbps - 44.1 kHz , space orchestra.mp3 ) Length: 2:28
107
i like original ideas in music!
>> No. 110
Audio Rollie - Nothing to Fight For - (4.84MB - 192 kbps - 44.1 kHz , Nothing to Fight For.mp3 ) Length: 3:32
110
something a bit different
>> No. 111
Audio Rollie - Acid House - (4.16MB - 192 kbps - 44.1 kHz , acid house.mp3 ) Length: 3:02
111
I pretty much produce all electronic genres across the board


Audio - (167.11KB - 117 kbps - 44.1 kHz ) Length: 0:12
94 No. 94 hide quickreply [Reply]
The woes of poor audio connections.
>> No. 105
Unbalanced line isn't going to make a difference if the cable is short. Balanced line only makes a difference in long cable runs.

More than likely your microphone sucks.


File 133496183752.jpg - (40.31KB , 635x640 , 153702ws6.jpg )
97 No. 97 hide quickreply [Reply]
since this place is mostly dead, I'll be uploading some of my stuff whenever I feel like it. maybe someone will enjoy it
>> No. 98
Audio tasten2.mp3 - (8.48MB - 186 kbps - 44.1 kHz ) Length: 6:24
98
rude
>> No. 99
Audio nastinka.mp3 - (6.00MB - 203 kbps - 44.1 kHz ) Length: 4:08
99
rude
>> No. 101
I enjoyed it. It's primitive but that's part of the charm. It reminded me of some of the old Amiga demos and early electronica. And Tangerine Dream.
>> No. 103
Audio nn_crash.mp3 - (6.28MB - 197 kbps - 44.1 kHz ) Length: 4:27
103
rude
>> No. 104
Audio lümmelparadies.mp3 - (3.21MB - 146 kbps - 44.1 kHz ) Length: 3:05
104
>>101
Thanks! I do listen to Tangerine Dream and old game music quite a lot. ever heard of Bodenständig 2000? german band who do quality music with dated and cheap equipment, I recommend


Audio Sedna - Phasya 8 - (7.21MB - 252 kbps - 44.1 kHz , Sedna - Phasya 8.mp3 ) Length: 4:00
95 No. 95 hide quickreply [Reply]
We are a band from a very hot, violent and forgotten place and this is a gift for all of you.

Feedback is really appreciated, for we are doing all our album project by ourselves and without much knowledge of recording techniques/mixing/mastering/etc.

Sorry for any english mistakes I may have commited and many thanks in advance.


File 132841826761.gif - (178.90KB , 480x360 , Fourier_series_for_square_wave.gif )
69 No. 69 hide quickreply [Reply]
I have somewhat of a background in making music, and playing it on instruments with people and recording it and the such, and I've even studied to some depth the theory of acoustics and electricity, but the shameful fact is that if I were pressed, I wouldn't be able to say very much at all about actual microphones, amps, headphones, mixers and the like.

I should note too that I just shut down when presented with a bunch of links. Is it possible to get a sort of .... roadmap to the world of modern electronic amplification and recording technology?
>> No. 82
If you have experience playing and recording music with people, talk and ask around and I'm sure you'll be able to meet someone with more experience in the areas you are unfamiliar with. Then you can talk to that person, pick their brain, and get help with the technology side of things.
>> No. 90
>>82
I'm not OP but I'm in a very similar situation concerning live sound engineering, sadly most "professionals" I've talked to have their heads up their asses and are just snobby brand-fanboys.

A bunch of links with descriptions and in a logical order might be more acceptable :p
>> No. 93
>>90

I suppose Yamaha Sound Reinforcement Handbook and Gearslutz.com might be a good way to get started. I myself am a beginner in this area as well, and will start delving into the ao. Yamaha book sometime soon.


File 133268833296.jpg - (45.91KB , 700x466 , Explosion-photos03.jpg )
92 No. 92 hide quickreply [Reply]
I just found out that I don't have to purchase a method of transportation to get to work anymore, so I have $2K to spend on a nice acoustic guitar. I've been drooling over a couple of Martins, but I'm looking for other opinions on high-end acoustics. I already have more electric guitars and amps than I can play, most of the time they sit in their cases while I play my acoustic.

I'm looking for something with a fairly even tone (don't want that really bass boomy sound) and a good electronic system in it. A cutaway would be a plus, but not necessary


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