Quote from: Marrow Machines on October 26, 2016, 08:27:18 am

check your play back speed on your car.

You could of recorded it at a slower tempo in relation to your car's playback speed. That would create a speed up, thus an increase in pitch.

Thanks for the reply. I'm not sure if theres a way to check playback speed in my car (though admittedly I'm still very new to this stuff )

I noticed on the cassette deck that there is a button for normal dubbing speed and high speed dubbing. Would that have anything to do with it?

that might have something to do with it.


Try re recording one tune on your deck, and check the play back speed in your car.


One other option is to do a bit of research on the equipment your car uses to get a more specific answer that might save you some time and or money.







BUT, record at the different speed that gave you the problem in the first place and play it back on your car to see if it works.


it's like the difference between a 33rpm record and 45rpm record. The playback speed has to match the recorded speed. other wise you're playing UK jungle from the 90's.....

Take a drastic turn and do something completely different.

I've been making dubstep, dub, and hip hop sort of beats for a while now and i just hit a wall not to long ago.

So what i did was make some trance(sort of i suppose, but it'd be more like indie trance -_-), break beat, and a form of jazz funk.



The sound components of today's EDM, really doesn't allow for much musicality in terms of different dynamic perspectives.



Just keep working on stuff and continue to grow. You'll hit snags like this all the time, and hopefully they'll become fewer and far between.

You should recognize that doing the same thing over and over again, is good for learning. But at some point, you get rather tired of it and need a shake up.

That's not to say that you shouldn't ever return to what you started out with, but if you're continuously looking for something new, you're eventually going to be at your wits end of discovery.

Observe every thing you've done, and apply What you know now, to what you did in the past.


Constantly creating is a difficult task to do. That's why it's important to collect all of what you know and what you've did, and turn those ideas and concepts into something new.

You probably have more than enough to work with if you just sit down and collect yourself, and apply what's already existing in new ways.

That's the price you pay for using a drum machine.

You're going to get a more singular sound, despite velocity hits, unless you emulate what is happening to the snare drum.

The best way is to record your own snare hit, but that comes with it's own opportunity costs.



Study a snare drum (and all drum components if you will) further and deeper. Talk to a drummer about the nuanced details in playing the drums.

You might get some ideas on how to better program your drums and apply automation to settings, if you drum machine/program utilizes parameters that are more performance based

Thank you so much Marrow Machines!

Literally just learning about my issues and knowing what I have to do has already changed.

I've been practising writing music both melodies and chords and just this morning I've already written a drop that I can stop listening to because of the work I had put in. Obviously I still have much more learning to do and more practising but I'm having fun again.

I'm also still in high school and I'm actually a physics student. So I have already learnt about the physics of waves (at a high school level). I love computers and this is why I'm actually making electronic music. I've self taught myself how to program computers the same way I am teaching myself how to make music. Right now I'm learning to program my own plugins to use in my productions!

I will definitely delve into more of the physics of sound design etc to get better!

The biggest thing that I'm working on is figuring out what I want to produce and who I want to be. I would have never thought that this problem would affect my work as much without your advice so thank you. This was actually a huge problem and I think it was the reason why I kept making things and saying 'I don't like that' or 'That sucks' and become frustrated. I was obviously making things I didn't like.

My own production process is still shaping itself but I guess that will come with actually making music and finding out how I do things and why I do them.

Quote

PS, you're going to be doing the same thing over and over and over and over and over and over again, until you become good. Seeking creative ways to do the same thing is what makes you more versatile and effective in the end. Best grab your thinking cap.

This is very well put. I have never looked at this from this perspective and it makes a lot of sense. So its not about how differently you do things in music but how well you as an artist can be more creative in your style or sound of music.

Thank you so much, you helped so much I cant believe it.

You're welcome. Good luck.

I fucking love you.

Huge Big Up.

Big up to the Arktopolis.


I had those same frustrations that you're currently experiencing. I've eventually given up on the boundaries that are set by categorization of electronic music when it comes to writing music.

When i was first starting out, i would tend to  notice how things work and get feedback and try to change it up on my next tune and continue to get feedback. I've also done research to supplement a better understanding of the components i use through out my process when creating and mixing a song to completion.

You quite honestly, may need to set aside some time and gather what it is you've actually learned and manifest itself in some way. By writing down the functions of the daw that you use (in a sense writing your own manual, that makes sense to you) and/or writing down your process of how you've obtained the sound you tend to like.

I am not to sure how you work, but i tend to remember things better if i spend time writing or typing it out and then saving the data in some form or fashion for me to refer back to if i ever need a reference point.

Quite honestly, you don't need to know when you need a pluck synth, because you can seriously make ANY song with out any type of pluck synth what so ever. I mean, you can make a music just by recording farts. You have the option of tuning it to a musical key or retaining the flatulent key it occurs in naturally.


You're binding yourself to self imposed restraints due to a mindset that might have not been broken, in order to fully realize your creative potential. But that perspective and understanding, with in the artist and all artist, takes time to develop and understand.


If what you say is true, and you have an understanding of the ideas and concepts that are applicable in modern tastes, then you're at a point where you need to push over the edge to get to the next phase of Doing and Learning.

You've created a tool box, but don't understand how to use the tools.

You also might need a break for your brain to catch up to what you have done, and maybe consider the future a little bit.

In the last statement, calls for changing your "reference point" of how you produce and what your body of knowledge is when you produce. If the last statement is true, through rhetorical question, then you might need to consider organizing every thing you've done in terms of your production PROCESS, until where you are currently at.



TL;DR-allow your self to catch up to yourself. You're about to break the boundary of self imposed limitations, once you get over this, you shouldn't have this sort of question ever enter your mind again, aside from a creative context of the song. But the fundamentals of understanding the tools, should be eliminated in terms of understanding what should happen in context of the tool and the song.



you're dealing with multiple variables now, it gets harder, but once the foundation has been set and understood, keep focus on the fundamentals you've established for yourself and keep plodding away.


EDIT: i've started to save my patches of synthesizers (as well as entire racks [including effect chains]) so that i can recall and manipulate later.

After further investigation into your problem, it seems like you have a solid understanding of how to use the tool but you can't quite seem to make sense of the tool in the context of various forms of instrumentation of the music. You also don't seem to have confidence in how you want your sounds to be, which leads into your frustration of not knowing what music to make or what to put into your music (also, the lack of understanding of the components of a song to make the experimental music worth while).

You shouldn't have to struggle like this, but you will need to struggle like this if you want to get better.

Never think that you aught to be at a point that you're not ready for. Understanding your self right now, is important to being where you want to be and at the skill level you want to be, in the future.

So, my bit about self imposed limitations, with respect to time and therefore experience, remain.

Heavily consider all of the resources you have and know, collect them, analyze your collection, and move forward based on what you have filtered (likes, dislikes of techniques and understanding).

you should probably consider the reference point of the track.

If you want your vocals to stand out, build your mix around the vocals.

The effects and what not come after considering the foundation of your mix with in basic aspects such as volume faders, panning, and frequency control.

The rest adds flavor, and will eventually be considered in the mix, but shouldn't necessarily be the building blocks of your music.

That being said, once you've laid the foundation with just the basic components, add in other effects one at a time to determine if it's the right tool for the job.



I'd also look up what the strength of each individual plug in (or just a bucket of plug ins) you're considering using for the chain. A bit of research goes a long ways in understanding how to develop your mixing techniques and eventually your own sound. It'll also increase your analysis skills if you know what and how something does in a more specific nature,.

Kick is always mono for me, clap/snare is center but with some width, hats I tend to give some decent width and pan them around (Pancake is a good plugin, and keep in mind I'm not just putting them on one side I dynamically move them around), but then toms I generally put higher ones more left and lower ones more right, a little subtly but still noticeable. This way tom fills really move around the stereo field.

However I make edm (as I'd assume most of us do), where if you're mixing more realistic sounding drums you'd want to pan them according to a drum kit setup but that's been talked about in this thread already.

yea but you could always pan your electronic stuff like a real drum kit.

It really just comes down to what you want your "image" of the mix to be.

I'd just look into all the techniques available and see how things come across. But definitely, certain ideas work well with in a specific context.