Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - Marrow Machines

Pages: 1 ... 15 16 [17] 18 19 ... 53
241
Inspiration/Creativity/Motivation / Re: I'm Literally F**ked Right Now.
« on: June 09, 2016, 04:24:33 pm »
me:"Yo pop (my father) i want to do music for the rest of my life."

pop:"Ok good, get your engineering degree and buy a guitar."


242
Sound Design / Re: Sound Design In Trance/Psy Trance
« on: June 08, 2016, 09:37:25 pm »
Quote from: AB69 on June 08, 2016, 07:17:47 pm
What kind of effects on stabs?

What would I be filtering for acids? Lets say I am using Spire, and I map the cutoff knobs to the envelope. What else would I be filtering/modulating? Would I be mapping anything to the LFO for like a 1/4 or 2/1 or some sort of filter timing? I dont know what I want be filtering though. I know you can do cutoff, but what else? Phaser freq? oscXweight?

My acids that I make in Spire don't sound anything like what I want them too. They are either too thin, raspy, or muddy. I can make acid arp atmos in Sylenth to fill the space, but I cannot get a good sound design on a main strong thick acid to drive my tracks.

it's layers dude, you need to experiment with effect chains to get the sound that you want for your stabs.

Or listen to that sound over and over and over again and focus on it and try to dissect it. That's tough, but you'll need to practice that.


as far as the cut off goes, it's simple filter stuff dude.

go look at the words you said to me via

thin, raspy, or muddy.

and look at how to remedy those words.

your basis of sound design might not be a good starting point because you're hearing and feeling what's comprised of the sound. you're only using your ears.

it also sounds like you haven't logged much time with your equipment that you're using to be able to explain what it is you actually want to do.


as i said before, if you really want my thoughts and ideas, send me a PM.

I can't tell you the answer, because that's all on you, but i can guide you to how i hear. if that's not what you want, then good luck.

243
Composition/Arrangement/Theory / Re: Where's the line between "pretty" and "cheesy"?
« on: June 08, 2016, 05:41:45 pm »
to me the cheese comes from a combination of sound and notes being played, this is how i feel when it comes to playing instruments.

vocals are a bit different, but tend to follow what notes are being sung as well as the tonal characteristics of the voice, so it's not that much different than the instrument.

There's ways to get around the whole cheese factor by being in a different scale and not hitting certain notes in succession. Linear play in the scale and chord progression also lends itself to the cheese factor.

You can almost tell when the music that's being written has some amount of soul to it. that characterization by the person entirely of that person.

that porter robinson track is a good example, because he wanted to do that. he poured himself into it. I am sure if some one else were to try and emulate exactly that, they wouldn't have a very good time due to the fact that the feeling might not be there.

You could boil down the cheese factor by having feelings and being one with yourself as you make the music you want to make.

244
Sound Design / Re: Sound Design In Trance/Psy Trance
« on: June 08, 2016, 04:40:19 pm »
Quote from: AB69 on June 08, 2016, 08:59:28 am
I have sample packs and i've found some sounds, but when I use them they feel more like individual hits rather than effects that seem to relate that driving the track forward.

Still needing help with the synth designs...

I've been stuck on production because I cannot make these kids of acids and stabs...

stabs are like plucks, but with a ton more effects.

acid basses are really just filter movement with a little more resonance than you think.

245
Inspiration/Creativity/Motivation / Beat Construction: Sonny Digital, the fader
« on: June 07, 2016, 04:34:04 am »
http://www.thefader.com/2014/12/12/beat-construction-sonny-digital

Got this from my friend off twitter @VIVIANA_XVIII

I never heard of this dude before, but what he said is a gold mine of information.

246
Inspiration/Creativity/Motivation / Doctor P on Pensado's Place
« on: June 04, 2016, 06:41:31 pm »
http://www.adsrsounds.com/news/doctor-p-explains-dubstep/

i suggest you watch the entire video, they have some good bits of information about perspective and the creative process.

247
Sound Design / Re: Sound Design In Trance/Psy Trance
« on: June 04, 2016, 02:28:55 am »
Quote from: AB69 on June 04, 2016, 12:32:14 am

I know there's probably going to be some bitcrushing, distortion, overdrive, etc. to make it more gritty.

I'm just having trouble getting the start of the sound in any synth. I think most of these sounds are made in Spire.

How would I go about making these sounds? Especially the random acid and tech stabs?

I would google EXACTLY the problem that you're having ie "why do my synths sound weak"

What you're probably lacking is proper use of bussing.


do you like the sound before you apply effects?

does the sound become weak after you apply effects?

what effects are you applying that comes from the synth and on your effect chain?

https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/916247-why-do-all-my-synth-sound-do-weak.html

consider this post. I was also about to mention this as well.


Synths are great to get the basic idea of the sound, but you have to apply instances of certain effects to get a nice harmonic content that is suitable for music in recording. Analogue stuff has this naturally and that's what's some times missing when it comes to these vsts.

I fucking LOVE tape distortion, and i put that shit on nearly every thing. Different amounts for different context, but it provides a nice harmonic context that's already associated with music and phatness. Saturators on nearly every thing music and tube distortion on kick and snare.

So you can take a dry ass synthesizer sound and put a crap ton of shit on it and make it sound dope or w/e, but it might not have the essence or the soul you're looking for.


And i think you might have over looked the perspective of bussing and distortion when it comes to your sounds, because if you balance it correctly (and literally treat it like a mixdown) then you should have what you're looking for.

PM me if you have any more questions or wanna go further into this.

248
Inspiration/Creativity/Motivation / Re: Production buddies?
« on: June 03, 2016, 11:14:16 pm »
I have a few friends who produce music.

out of my texas friends, i was one of the first to actually start producing music consistently.

But yea, it's good to have people offline (especially) and/or online that are willing to help you out with things and give you good feedback.

I will say, not every one of my friends gives good feedback based on creativity, judgement, taste, and technical understanding.

I have to feel out all of my friends to get a consensus of what the track may or may not need.

249
Sound Design / Re: Sound Design In Trance/Psy Trance
« on: June 03, 2016, 11:12:21 pm »
I hear a lot of like bit crushing going on to get that bite and grit. also a few other forms of distortion of the signals (probably tape)

it all seems like really simple stuff though.

these are pretty simple  sounds with basic effects.

God i love the trance kick

250
Samples/Plugins/Software/Gear / Re: How do you keep your projects, samples, presets in sync across computers?
« on: June 02, 2016, 05:12:44 pm »
one way is just to optimize your platform.

other than that, i am unsure how to alter the file types.

251
Inspiration/Creativity/Motivation / Practice Makes Possible, NPR article
« on: June 02, 2016, 03:59:21 pm »
http://www.npr.org/sections/ed/2016/06/01/479335421/practice-makes-possible-what-we-learn-by-studying-amazing-kids

252
Samples/Plugins/Software/Gear / Re: Komplete
« on: June 02, 2016, 04:46:36 am »
Quote from: MOTY on June 02, 2016, 03:29:03 am
Quote from: Mussar on June 02, 2016, 03:16:11 am
It's more than 95% of producers will ever need, truth be told. You'll only really end up using one piano. Rise & Hit is pretty good for movie trailer stuff. Monark is solid, and you can go deep with Absynth or Razor. There's definitely gonna be at least one thing in there you'll find use in, but it's up to you to decide if the unused plugins are worth the price.
I don't mean to go off-topic, but what would you suggest for drums? I have trouble finding any good drum samples as I suspect anyone else does. Any tips?

Edit: Also, I'm debating to purchase Massive, but I'm indecisive. I really like some of the modulations it has, but I'm also wondering if there would be anything 'better' to invest my time & money in.

figure out what sounds come from what synthesizer.

Yea, the basic stuff is there, but what's under the hood will translate differently.

The reason i bought the PX7 (fm synthesizer) and parsect (additive;spectral synthesizer) was because it gave me a good footing of having specific synthesizers based on specific synthesis.

Yea i can do the same thing if i patch together a ton of synths to get additive, and route some things into thor to mix it all up. But you get interesting results with out much frame of reference as a sound designer.

The engineering behind those particular circuits/code makes the instrument.

That's what i'd suggest to you. it's not so much what every one wants, but it's what YOU want your sounds to sound like from the instruments and their potential augmentation/tweaking that you do or may not do.

253
Inspiration/Creativity/Motivation / Re: The Producer's Forum Weekly Beat Cypher
« on: June 01, 2016, 10:19:38 pm »
Quote from: AnnieTP on June 01, 2016, 11:56:12 am
Quote from: Mussar on May 31, 2016, 08:15:32 pm
How about a little optimism, huh? Let's assume we can accomplish one minute worth of music a week, instead of trying to negotiate down to something we might think is easier. The point is to challenge ourselves. No need to be so negative about the outcome before we even started!

It's one hour of music a day, for seven days.
I was trying to be realistic. What I was suggesting was it's very ambitious and may not take off. I was not saying "don't do it" I was suggesting doing it less often.
I did say I had no problem doing it weekly, but only slowing it down if you can't keep up doing it on a weekly basis.


-Annie

Deadlines don't wait for any one.

I get that it's suppose to be fun, but the pressure is real if you expect to do this as a living.

Other wise it's just a fun little thing that you can set aside some time for, over a week or as many times as you want to do it.

It's a bit of training for some of the more serious, and not so serious i'd say. Take it how you want, but things get real if you do this for tha mula.

254
Samples/Plugins/Software/Gear / Re: 2 in 1 Tablet with touchscreen for Producing?
« on: June 01, 2016, 10:17:25 pm »
I went with a gaming laptop, just because it provided enough flexibility when dealing with audio and games.

Pro tip, if you're going to be doing audio with this device RAM>every thing.


255
Composition/Arrangement/Theory / Re: What means ´the key of the song´?
« on: June 01, 2016, 05:23:10 am »
Study the scales of the notes, then move to chords. then move to chord progression.

After what those two (and third) stud muffins said about the relative nature of the centered note, things might make much more sense when you apply it in smaller then larger contexts.


Pages: 1 ... 15 16 [17] 18 19 ... 53