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1

Samples/Plugins/Software/Gear / Anybody know a good product for doing pitch envelopes on long audio samples?

« on: March 04, 2017, 11:42:11 pm »

Oddly specific request for you there.. I want to be able to apply pitch envelopes based on tempo to samples maybe 20-40 seconds long.

I'm actually not looking for something that changes pitch independent of tempo. I want to simulate the effect of a turntable pitch slider, but I need something that's pretty precise.

Cheers y'alls.

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Inspiration/Creativity/Motivation / Getting your own WIP stuck in your head

« on: February 11, 2016, 01:37:30 pm »

This is just something of a curiosity question tbh, so the mods should feel free to banish it to the great internet recycling bin in the sky if they feel it's for the greater good of the forum.

Anyway, getting your own WIP stuck in your head: does this suggest that your tune is good, or merely catchy, or simply that you've spent too long listening to it? Or none of the above? Discuss. Or don't.

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Inspiration/Creativity/Motivation / (How) do you divide your time between sound design and composition?

« on: February 08, 2016, 11:18:26 pm »

Just been watching that Noisia vid that Mr. Zo linked to way back, and from what matey (Nik?) was saying, it seems like he spends time just making sounds, independent of actually having a specific use for them. So when it comes to making a track, he's already got a bank of sounds to work from, and at that point his time is pretty much all spent on composition and little/none on sound design.

I really like the idea of this way of working, partly because it really bothers me to be making progress on a track then get stuck because I don't have the sounds I need. But to really have a good bank of sounds to work from, especially if you make them without a specific use in mind, you could spend roughly forever just on sound design, and you'd never get round to actually making tracks.

I'm just curious as to how other people work - do you divide your time strictly between sound design and composition? Or do you just do whatever you need or feel like doing in the moment? Or a mix of both?

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R&A Graveyard / Encourage people posting remixes for feedback to link to original track as well

« on: February 01, 2016, 10:43:13 pm »

It might help to add a line to the pinned topics in the Finished/WIP forums about this.

Obviously you can also just find the original yourself but who has time these days..

5

WIPs / Candi Crush - happy funky EDM/trance thing

« on: February 01, 2016, 12:23:57 am »

'sup peeps.

I'm starting to hit the limits of my production knowledge with this so I'm gonna shelve it for a bit while I go to synth school.

I could really use some detailed feedback on this, in particular which bits of it sound good enough to be part of a professional track and which don't. I've been working on it so long I can't tell any more. I've been working pretty much entirely in headphones too, so people with decent monitor setups.. hello

The second buildup is gonna get changed out and I know the panning/stereo image needs some work.. apart from that, shoot.

Also I can't decide if the title sucks (it's a reference to the original inspiration for the track), or if it's just corny enough to get away with

I'm thinking of putting the stems up if anybody wants to copy, tweak, remix or just downright steal bits of it.. let me know

Thanks y'all!

6

Samples/Plugins/Software/Gear / Is Sylenth versatile enough to be your only/go-to synth?

« on: January 26, 2016, 09:43:36 pm »

IYO.

I need to learn synthesis properly before I try making any more tracks, so I want to pick one synth and learn it inside out.

I don't really have anything apart from stock synths atm, and I figure if I buy just one I'm more likely to be forced to learn it thoroughly. But that also means I'll need something I can rely on pretty heavily, so it would have to be versatile.

If you wouldn't go for Sylenth, what would you go for instead?

Basically I was gonna just make a 'what synth should I learn synthesis on' thread but a lot of people mentioned Sylenth as their first. Harmor, Serum and Massive came up also. I'm not a complete noob (I had a Virus B for a couple of years), but I want to get a hell of a lot better at making my ideas into reality.

Thanks peeps!

7

Samples/Plugins/Software/Gear / Any decent free de-click/pop plugins?

« on: January 23, 2016, 02:18:33 pm »

Just need something basic for a popping noise I can't get rid of.. thanks y'all

8

R&A Graveyard / Bug with posting replies

« on: January 20, 2016, 05:23:16 pm »

If like me you enjoy laboring over long, flowery replies and tweaking them until they're just right, something fucky happens with the formatting if you fiddle with your message too much. When you go to post/preview your message, a chunk is missing from the bottom, and in its place is a load of underscores or something, and a bunch of [size] close tags. S'pose I should have grabbed a screen cap the last time it happened.. will post one up if it happens again.

The reply box occasionally does other weird things, like if you add in a blank line but later remove it, all the text below shrinks.

9

Samples/Plugins/Software/Gear / Are there any good free/cheap sidechainable EQs?

« on: January 18, 2016, 07:32:42 pm »

Bonus points for telling me which ones they are xx

10

Mixing/Mastering / Sticking to one main volume/pan position per track

« on: January 15, 2016, 08:40:43 pm »

I always kind of assumed that you should only use pan and volume automation for effects and fade ins/outs. I figured doing otherwise messes with the balance of your mix. But I've never seen anybody say anything about this.

Let's say you have an arpeggio that sounds balanced in the build-up of your track. But later on, when there's much more going on, it sounds too quiet. My assumption is you would fix this with EQing or sidechaining (assuming the problem isn't a frequency clash), or maybe even modulate it differently so that it has more presence. But to what extent is it ok to change the volume or panning of something so that it sits right in different parts of a mix?

Thanks peeps.

11

Mixing/Mastering / Being able to follow every element of your mix throughout a track

« on: January 15, 2016, 07:09:23 pm »

How important is this? Obviously if one element completely drowns out another you're doing something wrong. On the other hand, if for example, a sweep or build-up effect (or several) partly obscure another part of your track, but you can still hear the fundamentals as long as you consciously listen for it, is this a problem or no? I always assumed yes, but I'm not sure.

The example that comes to mind is Andrew Bayer's Counting The Points (https://www.youtube.com/watch?v=WP47nuuOU_I). The synths are very intense in the middle section and you can't perfectly follow all the notes or hits of some of the subtler elements. But I'd hardly accuse Andrew Bayer of shoddy mixing ¯\_(ツ)_/¯

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Composition/Arrangement/Theory / Super subtle parts of a mix that you wouldn't know were there..

« on: January 15, 2016, 06:57:44 pm »

..unless it was you that put them there. Is this a technique that gives your tracks depth and interest, or does it just make for a mix that lacks clarity? Discuss..

Topics - Bertie South