61
Sound Design / Re: How does one make this piano?!
« on: April 22, 2016, 06:06:25 am »
Try to add a short room reverb to give it that little slapback delay?
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62
Sound Design / Re: Slap Bass (Lenno/Madeon Style etc.)
« on: April 18, 2016, 12:45:22 pm »
I would just drag the samples on a track and chop, stretch, pitch and arrange the clips to fit the track. That's probably the easiest way when you're working with samples of multiple notes. You're right that you can't pitch shift them very much without losing quality/realism, so the best you can do is select samples that are close to the intended pitch. Of course it helps if you can choose your track's key to fit that of the samples.
63
Sound Design / Re: Slap Bass (Lenno/Madeon Style etc.)
« on: April 18, 2016, 11:00:04 am »
Could well be a sample library (from a real bass), one example is Scarbee Jay. But at least Madeon said in a Reddit AMA that he had a friend play some bass slaps and slides and whatnot for some tracks. I would check these out for freebies: https://www.conversesamplelibrary.com/pack/la-bass-connection-funk-jams
64
WIPs / Re: COME AS YOU ARE - Nirvana Remix WIP
« on: April 16, 2016, 03:53:16 am »
Hey, nice progress on this one! I like where you went with the drop. I think the buildup could be stronger, it could use a crescendo on the strings and percussion. And I think the vocal could be a tiny bit louder in that section. Another thing I feel is that the snare is kind of weak for the bigger parts of this track, like 1:50 onwards. Pretty much what AnnieTP said, sounds like a hip hop snare. At least it could use some reverb; you can try automating it so that it's dryer in the first verse.
65
Sound Design / Re: Are Greys Guitar's Real?
« on: April 10, 2016, 05:56:18 am »
It's clear that IF it's created from samples, the guy has to have a pretty deep understanding on how to play the guitar. And for all we know, he could have made a custom sample library... 
Although I'm a guitarist, I would actually be more impressed if it was samples. Either way, sounds awesome.
Although I'm a guitarist, I would actually be more impressed if it was samples. Either way, sounds awesome.
66
Sound Design / Re: Are Greys Guitar's Real?
« on: April 09, 2016, 07:17:59 am »
Pretty convincing to me! But it's really hard to say, I mean, a sampled guitar is still real. I'm almost certain that there's at least some chopping going on, the starting notes of the main riff sound too similar each time. That fast bit, dunno, I found a reasonable way to play that, so at least there's nothing impossible about it. But then again, I don't think it would be very hard to recreate with a comprehensive sample library.
67
Inspiration/Creativity/Motivation / Re: Jack of All Trades vs. King/Queen of a Trade
« on: April 08, 2016, 03:19:25 pm »M shaped skill?
http://blogs.forrester.com/f/b/users/AMULLEN/updated_skills_image.png :O
This one I like! At the risk of sounding like a fanboy, I was pretty impressed to learn that Madeon also does his own graphic design
68
Inspiration/Creativity/Motivation / Re: Jack of All Trades vs. King/Queen of a Trade
« on: April 08, 2016, 06:00:58 am »
The idea of T-shaped expertise is a bit funny to me, because you can divide each field into smaller subfields, and I'm not sure it applies at all levels. Like, should the leg be "making bangers", or "sound design" or "granular synthesis"? It starts to look more like a fractal than a T
My opinion is that a good producer is good at songwriting first, sound design close second. Artists whom I listen to and respect the most, like Madeon, Porter and Culprate, have both of these down, so at this scale I don't really advocate a T shape. On a much lower scale, yeah it may be best to be really good at resampling or serum at the expense of other sound design methods.
Just don't have a T-shaped expertise without the leg. That is, don't settle on being bad at everything.
My opinion is that a good producer is good at songwriting first, sound design close second. Artists whom I listen to and respect the most, like Madeon, Porter and Culprate, have both of these down, so at this scale I don't really advocate a T shape. On a much lower scale, yeah it may be best to be really good at resampling or serum at the expense of other sound design methods.
Just don't have a T-shaped expertise without the leg. That is, don't settle on being bad at everything.
69
Mixing/Mastering / Re: Pre-master
« on: April 07, 2016, 07:30:30 pm »
Also, if you use reference tracks, your mastering chain won't affect those when it's on a separate pre-master track.
70
Mixing/Mastering / Re: How do you group your mix busses?
« on: April 07, 2016, 08:57:49 am »
^ good for you dude!
I'm also pretty unorganized... I usually make busses for sidechaining purposes, so often I have one for bass and one for "other stuff". Otherwise I only make a bus when I need to apply something like a filter on multiple instruments. But nowadays I also try to minimize the number of mixer tracks I work with, so all sound design happens in the synth or in Patcher.
I'm also pretty unorganized... I usually make busses for sidechaining purposes, so often I have one for bass and one for "other stuff". Otherwise I only make a bus when I need to apply something like a filter on multiple instruments. But nowadays I also try to minimize the number of mixer tracks I work with, so all sound design happens in the synth or in Patcher.
71
Composition/Arrangement/Theory / Re: I dont understand modes
« on: April 06, 2016, 06:07:41 am »
Vidale and Lydian gave very good explanations already, no need to dumb it down. It's a very simple concept, as has been pointed out, but what Lydian said about tonal center is something that everyone should try to understand/form an intuition about, because that's about the only hard part about music theory. The rest is just language.
I'd like to add to what ZAU touched with his comment. The most common modes outside the familiar minor and major, the Dorian and Mixolydian, "feel" like minor and major, respectively; you can interpret a song in a Dorian mode as a minor with borrowed chords. So in principle you don't need to invoke modes in your thinking when writing music, you can just use a D major chord in A minor because it sounds frigging cool - case in point: the chorus of "Civilization" by Justice
I'd like to add to what ZAU touched with his comment. The most common modes outside the familiar minor and major, the Dorian and Mixolydian, "feel" like minor and major, respectively; you can interpret a song in a Dorian mode as a minor with borrowed chords. So in principle you don't need to invoke modes in your thinking when writing music, you can just use a D major chord in A minor because it sounds frigging cool - case in point: the chorus of "Civilization" by Justice
72
Mixing/Mastering / Re: Sidechain using Volume Shaper
« on: April 05, 2016, 02:18:40 pm »
There seems to be some misunderstanding here about what sidechain compression does. It literally does nothing more than adjust the volume of the signal. There is no sonic difference between a signal ducked with volume automation and a sidechain compressed one, as long as the envelopes are matched.
73
Mixing/Mastering / Re: Sidechain using Volume Shaper
« on: April 04, 2016, 09:54:25 am »I also use volume automation in FL for sidechaining. It feels much more visual, and you can basically do anything with the volumes. When you use compression, I feel restricted to the drums.
Me too. Setting up the automation clips is probably as fast or faster than setting up a sidechain, and the level of control is superior.
74
Sound Design / Re: Best Sound Design Ever!
« on: April 03, 2016, 07:04:39 pm »
Thanks! Really cool sounds in Exploration too, especially the intro pad 
75
Samples/Plugins/Software/Gear / Re: Sidestick Samples?
« on: April 03, 2016, 08:13:20 am »
Should be a part of most acoustic drum kits. Here's a list of freebies, although it's a bit old so many links might be dead: http://bedroomproducersblog.com/2010/06/24/free-sample-shootout-2-acoustic-drums-full-kits/
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