I don't think it's necessarily old school to want to have something physical to interact with, or to play. Using a sequencer or pad controller is a much different workflow than trying to draw into a piano roll and automate by mouse
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MusicianERA |OT| Producers and Artists Welcome
- Thread starter Kyzer
- Start date
Agreed. I feel it makes producing more fun too and it helps me being more creative as it's much easier to experiment.
Hey guys, I been working on this project for a few months and its finally finished :)
Theres tons of different types of music on this, and I think the style is very unique.
If you like bangers, you should listen to LABYRINTH or YOUTH.
If you like more chill out songs, check out PHANTOM or HIGHLIGHTS.
If you like more experimental songs, put on SUMMER or INFINITUM (That ending though).
You can stream the album in its entirety here on Soundcloud:
https://soundcloud.com/saintxlawrence/sets/in-memoriam
You can also stream and download the album (for FREE - enter $0) in MP3 320 kbps all the way to FLAC on bandcamp:
https://saintxlawrence.bandcamp.com
I spent a lot of time perfecting this project, and I think you will love all of it. There is something for everyone
Edit: Sorry for the big cover lol
Theres tons of different types of music on this, and I think the style is very unique.
If you like bangers, you should listen to LABYRINTH or YOUTH.
If you like more chill out songs, check out PHANTOM or HIGHLIGHTS.
If you like more experimental songs, put on SUMMER or INFINITUM (That ending though).
You can stream the album in its entirety here on Soundcloud:
https://soundcloud.com/saintxlawrence/sets/in-memoriam
You can also stream and download the album (for FREE - enter $0) in MP3 320 kbps all the way to FLAC on bandcamp:
https://saintxlawrence.bandcamp.com
I spent a lot of time perfecting this project, and I think you will love all of it. There is something for everyone
Edit: Sorry for the big cover lol
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Total newbie here - does this basically plug into your DAW? I'm using Logic, so I was just curious how those extra sound windows integrate with it. I've been using Logic default sounds til now and definitely looking to expand, especially to more natural sounds.
It's a hard drive filled with sample libraries and software synths and effects and players and you can install those on mac/windows and use them in your DAW of preference.
Looks like Logic supports AU format plugins, so you'd install those versions when you install Komplete, then: https://support.native-instruments....rt-Native-Instruments-Plug-ins-in-Logic-Pro-X
Might also want to take a look at this article: https://support.native-instruments.com/hc/en-us/articles/209592029
Awesome, thanks! I write a lot of music but haven't recorded all that much. Been trying to start recording more but the sound library in Logic is a bit limiting.
Also need to get a new keyboard. I have a Novation Impulse 61 which is great for what it does, but I need to get a more weighted and expressive keyboard.
edit: To contribute something to the thread, here's the last little demo I made. Excuse the bad vocals, I generally do sketches like this laying in bed with my iPad. https://soundcloud.com/ianbarkerspam/logical-lullaby-demo
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Not sure how anyone here feels about Trap/Hip Hop, but went for a spooky/horror trap vibe on this one. Any opinions on the mix?
https://soundcloud.com/fivehandsmusic/runaway
https://soundcloud.com/fivehandsmusic/runaway
Can I get some ears on a mix and some advice? I'm trying to figure out how to get a nice wall of sound but with the important parts coming through cripsly, I also want to know if I'm mixing my guitars well, and any general advice. (Also, all of these are virtual instruments, so keep that in mind.)
https://dbr.ee/mHF1
This is intended to be a vocaloid song, but I'm focusing on the instrumentation right now, so the temp vox are muted!
https://dbr.ee/mHF1
This is intended to be a vocaloid song, but I'm focusing on the instrumentation right now, so the temp vox are muted!
You made this with FL Studio right?
Anyway so the main instrument from like 0:30 needs to be way louder. It almost drowns in the mix, it's better at the end of the song though. I think some instruments could use a little reverb too like the sax for example. For guitars you could try double tracking you can do that with vst guitars too. A lot of the "wall of sound" you can also gain by mastering with a lot of compression.
dem FL Keys
Anyway so the main instrument from like 0:30 needs to be way louder. It almost drowns in the mix, it's better at the end of the song though. I think some instruments could use a little reverb too like the sax for example. For guitars you could try double tracking you can do that with vst guitars too. A lot of the "wall of sound" you can also gain by mastering with a lot of compression.
I'd like to ask for some guidance/advice from you folks, since I'm a little stuck right now.
I was checking out Phoebe Bridgers's Tiny Desk show the other day, and the pianist uses a Pocket Piano on the first song (https://youtu.be/-hLJNZSIwP8). I think he's just using the settings for the vibrato synth (https://soundcloud.com/critterandgu...-synth?in=critterandguitari/sets/pocket-piano).
I'd like to figure how to replicate this using a softsynth to make a kind of warbly, pedal steel-ish sound. It doesn't seem to be overly complicated, but I feel like I'm missing one or two things to accomplish the sound. (Maybe it's even just a matter of using the mod wheel on my controller properly? I don't know.) I use Ableton, so with help I can get the sound using its own synths, but I have Arturia as well if that would lend itself better.
I was checking out Phoebe Bridgers's Tiny Desk show the other day, and the pianist uses a Pocket Piano on the first song (https://youtu.be/-hLJNZSIwP8). I think he's just using the settings for the vibrato synth (https://soundcloud.com/critterandgu...-synth?in=critterandguitari/sets/pocket-piano).
I'd like to figure how to replicate this using a softsynth to make a kind of warbly, pedal steel-ish sound. It doesn't seem to be overly complicated, but I feel like I'm missing one or two things to accomplish the sound. (Maybe it's even just a matter of using the mod wheel on my controller properly? I don't know.) I use Ableton, so with help I can get the sound using its own synths, but I have Arturia as well if that would lend itself better.
I could really use a vocalist for this track, if anyone's interested:
https://www.dropbox.com/s/lnu0p1x0vjgk1gg/Lean On Later Mix.mp3?dl=0
https://www.dropbox.com/s/lnu0p1x0vjgk1gg/Lean On Later Mix.mp3?dl=0
Nope, I actually made it in Ableton Live! They sound that way because that's just how I wrote/mixed it all. Thanks for the advice, I didn't actually see it in the time before finishing the song, though. (Quote or @ me next time!) Alas.
I finished it, and basically re-built the mix from the ground up. Take a listen and hear the improvement!
https://soundcloud.com/starlightmasquerade/together-under-the-cherry-tree
https://soundcloud.com/starlightmasquerade/together-under-the-cherry-tree-instrumental [Instrumental ver.]
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Yeah they sound cheesy, but I like the cheese :D
That's what this thread is for I guess? I doubt I could help you but maybe someone else.
Cool. So I'm having a lot of trouble with sight reading. Pitches in particular. Any good exercises/tools/etc. to help me learn and be comfortable with different pitches?
Is this for singing or an instrument of some kind?
I had to learn to sight sing (even as a brass player) for AP Theory back in the day. If I understand you correctly, this might help. Please feel free to tell me I'm completely off base if this isn't what you're asking about.
The best advice I have is to really focus on learning what different pitch intervals sound like. A good basic exercise is to think about music/songs that use the interval you are trying to hit and think of those when you see them. Some examples would be Over the Rainbow for an octave (Some-Where), Jaws theme for minor 2nd, Maria from West Side Story for augmented 4th/diminished 5th (Ma-RI-ah).
Fake Edit:
This page basically uses the method I'm talking about with examples:
https://en.wikiversity.org/wiki/Ear_training/Intervals
Yup! That was part of the intent. There's a bit more going on with these strings than is first obvious, a lot of parts playing in different octaves with different sample libraries and string sections. https://dbr.ee/t1Sk
thanks! I'm kind of okay with interval identification (thought m6 and m/M7 still confuse tf out of me); my issue, though, is being able to sight read in the right pitch. Like, say, the song is in Bb major, I have to sing my solfege in the right key. Ugh isn't he basically asking me to have perfect pitch? This is my first fucking musicianship class ffs
That's a bit pessimistic point if view.
Your voice has a limited range in which you can sing. You won't be singing soprano hights or if your voice isn't deep enough you won't sing bass lows.
The jumps between notes will never be too extreme. This means that they will mostly fall within one octave.
There is a reason why kids start singing in solmization. No matter if you start the song in C major key or in D key, your root note will be called Do. The intervals between notes in the song will stay the same. You just start a little higher. Then it doesn't matter in which key you actually sing. You just find the right one for your vocal range.
You will do these things automatically when you get the hang of intervals.
I think SBit is on the right track...I'd be shocked if they actually want you to have perfect pitch. In every theory/musicianship class I've taken it's been no problem to transpose as long as your intervals are correct. If they actually want you on key they should give you a starting note. I mean, professionals singing a capella typically can't do without that. It's silly to expect anyone, especially a student to require any less. What, do they expect you to go to bed with a tuner playing A440 under your pillow?
Though I will say, there was a time in my life where I felt like I could probably get within 15 cents of A440 unassisted from all the classes, concerts, and gigs I had. Damn string section/oboe not giving me a Bb lol
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ok guys, I'll just practice my intervals and solfege and use the piano and hope for the best :(
I am struggling with... this.
how do you guys take rejection without throwing the towel?
I feel like this is a game that is entirely luck based. just have the right person seeing you at the right moment.
I could just enjoy video games every weekend and stop dreaming and wanting something as unrealistic.
how do you guys take rejection without throwing the towel?
I feel like this is a game that is entirely luck based. just have the right person seeing you at the right moment.
I could just enjoy video games every weekend and stop dreaming and wanting something as unrealistic.
Excellent!
And as is probably mentioned often, having a memorable tune from some song you know to recall in your mind as a reference for a certain interval can be very helpful! At least for the more difficult ones.
I don't teach singing per se, but I usually expect my guitar students to be able to sing some basic stuff. Some have an ear for music, some don't.
Those that don't sometimes say :"Oh I can't sing, I can't hit notes at all." But even the most hopeless ones (can't even distinguish lower or higher pitched sounds!?) could improve a lot in a year or two. Nobody is incapable of training themselves to hit notes eventually. It's just a matter of patience, practice and time.
PS: Taking lessons with a trained professional/teacher who can point out mistakes can speed the process IMO.
Could you be a little more specific? What is troubling you? What are you trying to do? Making music for a living?
Any examples of your work?
If you can't handle rejection, then (professional?) music isn't for you or you need to grow a thicker skin. On a second thought, grow a thicker skin in every case. Your mind will thank me later.
Maybe you don't realize but people usually don't find success over night.
I imagine there is not a single person in this topic that hasn't experienced rejection on a number of occassions.
Instead of pushing yourself down use the rejection as a motivator to improve yourself. Nobody is perfect. Strive to do better.
Do not self pity.
I'll come back at a later date to ask for help/opinions.
thanks for your reply.
Part 1: Ultimately I make my music for me. Even if I never made another dime off of any of it I'd still be making it. Even if no one else liked what I was making anymore I'd still be making it just the way I want to. I compose music because I enjoy the process.
Part 2: Pretty much, it's a dice roll, but you determine how many times you roll the dice - and how and where -, and, "You miss 100% of the shots you don't take." and all manner of motivational quotes you already know. You know the stakes. But really you set the stakes for yourself. You determine how big of a leap of faith you're going to take. No shame in doing music on the side or setting a limit to how much you'll actually put into your musical pursuits. And you haven't really wasted your time if you enjoyed yourself, so keep your own enjoyment first.
Yeah it's really important to just focus on making whatever you're doing the best you can make it. This is where seeking to improve yourself just to improve yourself comes in. It's good to have goal posts, but if you're not doing it because you want to do it, especially at this level, then you need to reconsider what you're doing.
I wish you'd be more specific, but I'll give my most general advice.
You don't have to pick one or the other - find joy in video games and other hobbies as well as music. Through a combination of luck and hard work I get to make music for a living, but I still have TONS of rejection regularly. The career has ups and downs. You have to see it as an opportunity and motivation to get better.
Get rejected, get frustrated, then go cool off with some games. Then come back at it renewed and use that frustration as fuel to work harder.
The industry is so saturated, so luck will probably play a huge part in any success. You have to know that and mentally prepare yourself for it or it will wear you down.
Not sure if this has been shared in the thread already, but I just came across this video and thought it was pretty great, especially the bit at the end with Herbie Hancock. What a legend:
Some really great concepts in there for anyone who is trying to broaden their understanding/application of harmonic progressions.
Some really great concepts in there for anyone who is trying to broaden their understanding/application of harmonic progressions.
Finally starting to get my production chops a little better in Ableton. My mic is kinda garbage but I think I mixed it down alright. I'd love to get some feedback if anybody's got the time.
https://soundcloud.com/mazehaze330/got-yr-fix-prod-ketchum
https://soundcloud.com/mazehaze330/got-yr-fix-prod-ketchum
Good stuff! Mix is going into a good direction. Cut your bass area a bit as it's really wobbly down there masking the drums and vocals.
Your hihat and cymbals are too loud in my opinion. Also spreaden your stereo image a bit more. Pop some compression on the master and you are good to go for a nice demo! I like the song a lot - the instrumentation is awesome!
Great tips. Thanks a lot, really appreciate you taking the time to give it a listen!
Hey friends. I just had an album of production music I wrote released to the industry today. It's a mixture of modern textures, retro synths, and minimal organic instruments aimed at documentaries or other science-focused media. You can listen here:
https://harmony.sourceaudio.com/#!explorer?b=5654052
It's production/library music, so may not exactly be the most gripping thing to listen to on its own as it's intended as underscore/mood setting. But I'm pretty proud of it overall!
I listened, really cool track! On my own set up, I would say the vocals could be brought up a little overall. Also a couple of those trap snare rolls were a little loud and jumped out a bit much. Otherwise really good stuff!
https://harmony.sourceaudio.com/#!explorer?b=5654052
It's production/library music, so may not exactly be the most gripping thing to listen to on its own as it's intended as underscore/mood setting. But I'm pretty proud of it overall!
I listened, really cool track! On my own set up, I would say the vocals could be brought up a little overall. Also a couple of those trap snare rolls were a little loud and jumped out a bit much. Otherwise really good stuff!
soundcloud and weirdly enough YouTube are probably the best platforms for rap in recent years. the 'type beat' label gets a bad rap and justifiably so since 90% of them get lost in the shuffle, but it works from time to time - from Chief Keef's debut to Rubbin In The Paint, artists have been using 'type beats' they find for songs that have blown up for like a decade now. networking, persistence and luck are probably the three biggest factors outside of ability though. most artists have some kind of management contact info and some smaller ones specifically beat submission info in their twitter bios. if you're in a metro area it also can't hurt to check out local artists and try to link with them. email sessions make up the vast majority of recording, but i personally think there's something to be said for building something from the ground up with the person you're working with. also maybe join ASCAP or BMI before getting too in the weeds with anyone business wise. it won't prevent you from getting beats stolen but it'll give you a little more leeway in dealing with the scenario should it arise
I know this is a from a few days ago but,
My big thing is writing novels, and the final leg of a novel is to send it to publishing houses and agents. I'm on my fourth book with zero agents or publications. You keep going because that's kind of all there is to do, right? Like you must enjoy making music or composing or mixing or whatever your branch of this thread is. It's fun. It's one of those things that gets you up in the morning. For me, once enough agents say no to a book, I just shrug and start another. Maybe that'll work. Second book went nowhere, so I decided to say fuck it and wrote my third for me and me alone. It's stupid and no one wants it, but oh well. I knew that going in (I also love it!) Number four will do better. Maybe. Probably not. That's future me's problem.
I like writing too much to just stop though, and eventually I'll self publish some stuff just to get it out there. It's not settling if I'm working on book four (or five or six or seven). Plus I'll have something out there, and that means something to me, even if it's insignificant in the grand scheme of things. I DID A THING! I mean hell, I released a video game this year that less than a hundred people have purchased, but I'm still pretty proud of the game and the work that went in it. Maybe I've just set my expectations accordingly now, or maybe something else. Either way, I'm working on the second game. If at first you don't succeed!
At this point, I'm pretty numb to rejection. I've been told no hundreds of times, and what that means is I'm no longer afraid to take risks, both in what I want to write and who I'll send it to. Or even how I'll approach the letter. Like if the worst that happens is they tell me to go away, then I'm not really out anything.
Edit: I came here to ask a question and got sidetracked :V Maybe tomorrow.
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Any MPC heads in here? :)
I bought an MPC X a few months ago and picked up some of my old gear which was in storage for a few years to start producing again. Still have to pick up some of my old synths though.
Haven't used an MPC in ages but man, it feels good banging out beats physically. Have used a couple DAW's in the past, most notably Renoise but I always missed the physical aspect when composing. I find that controllers are only so much a replacement so the MPC X with its stand alone-mode is perfect for me.
I definitely love the context-sensitive Q-link knobs at the left side, and the responsive touch screen works good to. What I don't like is how you have to line up tracks in following up sequences with the tracks in the first sequence when creating a song. I feel Akai should have updatet that workflow feature. Still, sampling and chopping is a delight. I am a surgical slice-guy myself and it works perfectly on the MPC. Still learning, but getting there :)
I bought an MPC X a few months ago and picked up some of my old gear which was in storage for a few years to start producing again. Still have to pick up some of my old synths though.
Haven't used an MPC in ages but man, it feels good banging out beats physically. Have used a couple DAW's in the past, most notably Renoise but I always missed the physical aspect when composing. I find that controllers are only so much a replacement so the MPC X with its stand alone-mode is perfect for me.
I definitely love the context-sensitive Q-link knobs at the left side, and the responsive touch screen works good to. What I don't like is how you have to line up tracks in following up sequences with the tracks in the first sequence when creating a song. I feel Akai should have updatet that workflow feature. Still, sampling and chopping is a delight. I am a surgical slice-guy myself and it works perfectly on the MPC. Still learning, but getting there :)
anyone have tips on mixing harsh vocals? I've dual tracked everything, but I can't seem to give them that ENERGY I want. Tutorials say to compress the shit out of them, but my volume levels are pretty even from start to finish. I don't know how much that's really helping.
Maybe the vocals themselves lack energy? Compression and EQing can change the dynamics and optimize the recording to make it sound good, but they can't change the performance. Well except if you do some super crazy pitch correct/shift post processing and whatnot but I doubt that's your goal?
There's probably rogue harmonic frequencies that pop up during the performance. You'll want to identify the frequencies, an FFT graph will help but mainly use your ears, and automate the eq when the issues occur. A Dynamic EQ will do the job better as it will compress the frequencies you set/identify and want controlled and can do this with a threshold so rest of performance won't suffer when the harshness doesn't occur so much. Just slapping eq on it and compression won't work though as your vox will start to sound like it's being sung through a sock especially where problems aren't there sucking the life out.
Are you using Plate reverb, long and short delays with your vox it will make a big difference if not. Also a bit of saturation and harmonic exciter can help and also try out parallel compress instead of insert direct on track.
Not my goal, no. And it's possible it's the performance. I have a small window to record after work since I live in a duplex and don't want to bother the neighbors. Not always AWAKE when I get home.
I think I get what you're talking about with EQing. I'm using some delay and some reverb, though I haven't played around with my delay plugin much so it's been mostly random presets. I'm trying to feel out how things will sound when I get around to mixing, but I'm not full-on mixing yet.
Ok well I'll list some microphones in that range I think are worth looking at, but also give you some in the next $200-$300 budget as the quality of mic you can get really increases.
$200
Lewitt LCT 240 PRO $149
sE X1 S $199
Audio Technica AT2035 $149
AKG P420 $199
$300
Aston Microphones Origin $269
sE Electronics sE2200e $299
Warm Audio WA-47Jr $299
Rode NT1 (not NT1-A) $269
Audio Technica AT4040 $299
Lewitt LCT 440 PURE $269
Anyone have some advice on how to manage the low end on a song? My growls are in the lower register and they take up a lot of space. I cut some of the really low frequencies, but between the drums and guitars, everything wants to congregate in like the 400 - 500 hz range. Mud city :( My growls don't have a lot of mid to high in them. Well, they have some high, but the mid is really not there. Kind of strange.
If you don't need it in the low low end cut anything thats below 30 hz off, steep or as steep as you're comfortable with. That'll clear up a little room. Next figure out what each element you have down there is doing for you. Is something supposed to be punchier? on top? etc then play with volume and panning. Don't be afraid to play with volume and panning, you'd be surprised how often sometimes all you need is -6db something or move it further into a specific channel to clear room for your sound.
I'm kinda rambling here but also are you filtering groups? I'll often put a low pass filter on my drum group
I'm kinda rambling here but also are you filtering groups? I'll often put a low pass filter on my drum group
Still trying to get back into the vibe of making music again. Work is killing me. Here's an old track to critique.
https://soundcloud.com/sword-of-the-stars/strawberry-master
https://soundcloud.com/sword-of-the-stars/strawberry-master
Sounds pretty good to me. I like the change ups you employed to keep it fresh and moving throughout.