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Rowan Morrison
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  • 2 weeks later...
Arturia MxBrute (9 tracks of noises), Neutron (2 tracks), Various Hives (pads), Arturia Arp 2600 (arp!), Roland Plugout 808, Diva (Pads). 
 

As heard on DC's white noise...

 

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On 13/07/2022 at 07:58, daninski said:

And another... 

 

 

Loving that. Very BOC but IMO there should be more BOC and Hauntology. Ghostbox seems to have moved on a bit to folky/cult sounds but to me it hasn't outstayed its welcome yet.

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On 18/07/2022 at 15:31, Dimahoo said:
Arturia MxBrute (9 tracks of noises), Neutron (2 tracks), Various Hives (pads), Arturia Arp 2600 (arp!), Roland Plugout 808, Diva (Pads). 
 

As heard on DC's white noise...

 

 

Brilliant stuff. Loved it.

 

You must be chuffed to be played out by DC.

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14 hours ago, hub2 said:

 

Brilliant stuff. Loved it.

 

You must be chuffed to be played out by DC.

 

Yeah i was a bit. I figured this stuff would be a bit soft for the show but he's played everything i've sent him.

I know its only a mix but its a great honor to be on a mix with other electronic heroes.

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On 03/07/2021 at 11:48, feltmonkey said:

Does anyone use Cakewalk?  I've been having a really frustrating problem with it over the last week or so.  I had a track made up of a load of guitar parts and stuff, and I wanted to record a melody over the top using my midi keyboard.  I recorded it, but as I was playing sometimes the sound, and more importantly the pitch, would randomly change.  My initial thought was that I was accidentally activating the pitch and effect wheels.  This is an Arturia Minilab, so they're these weird touch sensitive virtual sliders rather than a physical wheel.  Anyway, I managed to get a take where this didn't happen, but when I played it back, the pitch and sound would change again, during the playback.  I closed Cakewalk and reopened it, installing an update at the same time, and when I reopened it, it sounded correct again.  I played it back a few times to make sure, and it sounded right.  A few days later, I came back to the track and exported a copy onto my PC, but when I listened to the exported MP3, the fucked up pitch was back.  Bear in mind that the midi controller wasn't even plugged in when I exported the track, so it had wonked the pitch without any input from the controller.  

 

I'm not really asking for technical support or anything here, just venting really.  I'll ask on the Cackwalk forums for that.  Googling suggests other people have had similar problems, but the people on the forums insist that it isn't Cakewalk that's the problem, refusing to countenance the idea even when every other possibility has been eliminated.  This is something that happens on support forums that are manned by users.  That whole thing kicks in where people feel they have to defend their chosen piece of consumer software.  It's really unhelpful.  I haven't seen any solutions to my problem or even workarounds on there.  

 

I'm not very technically-minded, but I guess it's some sort of conflict between the midi controller, it's software, Cakewalk, and possibly Windows.  This isn't ideal because those are the things I use to make music.  :hmm:

 

Well, the Cakewalk forum is now locked, presumably because it's open source now, so I guess I won't be asking on there.  I suppose I either work it out myself or give up.  Bah.

 

Big bump from the dead (sorry) but out of interest did you ever get this sorted? 


I wonder if it's an issue with the specific VST you were using. I have a similar thing with Redtron-SE, a freeware Mellotron, in Cakewalk. When I open a project with an existing Redtron part, it sometimes plays in the wrong settings (wrong instrument and/or pitch).

 

So for example if I've got a Mellotron choir part, it'll play it on a strings patch, and out of tune as well. The thing is the VST display doesn't update, so it still appears to be on the choir patch. 

 

I've just kind of got used to it. Freezing the track as soon as it sounds right is about the most foolproof, but simply changing to the next patch and back will also do it, if I did want the track to still be 'live' for some reason. 

 

Point is you have to remember to do it. I've rendered so many useless draft mixes where I'm working on getting something else to sound right, and I forget to correct the Mellotron. 

 

I haven't used the same VST in any other DAW (been using versions of what is now Cakewalk since about 2004 when it was Sonar) so I don't know if it's an issue with how Cakewalk handles VSTs, or an issue with this specific VST, or whatever it might be. 

 

If you did find a magic fix to the shenanigans it was doing for you, maybe I could apply it to mine :)

 

 

On 14/04/2022 at 08:02, chris on the moon said:

I don't know if anyone here has liked any of my music in the past. But here's my new collection of songs anyway - https://chickenicarus.bandcamp.com/album/pure-and-ceaseless-joy

For this one I was not concerned with whether anyone would want to listen to it, or how embarrassing it would sound, and I just did what I felt like. So I'd recommend headphones. Lots of synthesisers and misery.

 

Bought this yesterday, after listening out of curiosity when Chris mentioned it in another thread. It's seriously really good. I'm really a metal guy and this is absolutely not that, but it speaks to me. 

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  • 2 weeks later...
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  • 3 weeks later...

Hello. I've been singing in a choir for a while now, which is lovely, but I'm trying to get a bit more confident singing on my own. I've been trying to pick out some songs I can play on guitar and maybe bring to an open mic night. But it's very hard to evaluate your own voice! I suppose if anyone's listening, I'd like to ask if this would get polite applause, or get me laughed out of the room. Probably not the right thread for this, but hey hey, why not.

 

 

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Nothing wrong with that. You've got a good voice. It sounded like a few of the lower notes were a bit tough, you could try a capo? But then I notice there are some higher notes in there too. You can always try fingerpicking to make the guitar part sound more interesting than it is too, so that might be something to try?

I don't know what open mic nights are like, I imagine they're full of shit men doing oasis and the odd girl with a uke, so who knows how they'd react - but no, it's not like horrible or ridiculous or baaad.

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12 hours ago, chris on the moon said:

Nothing wrong with that. You've got a good voice. It sounded like a few of the lower notes were a bit tough, you could try a capo? But then I notice there are some higher notes in there too. You can always try fingerpicking to make the guitar part sound more interesting than it is too, so that might be something to try?

I don't know what open mic nights are like, I imagine they're full of shit men doing oasis and the odd girl with a uke, so who knows how they'd react - but no, it's not like horrible or ridiculous or baaad.

 

Heh, it's definitely at the lower end of my comfort zone, but the capo is already on 5. Any further and my fat fingers would be compressed into industrial ham. Thanks man!

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10 minutes ago, ZOK said:


Mate, this is a great tune! I would play that out.

 

Thanks! Have been trying to make stuff for a while, nothing I make sounds 'right' to me tbh, like it's not actually music. I spend ages on the drums and then don't really know what else to do with them. Quite frustrating really!

 

Again I like the drums on this one but the rest sounds a bit flat to me. It probably doesn't help that all the sub bass never peaks above about 40hz! I imagine it'd sound alright on a big system but on normal speakers it probably sounds a bit empty

 

 

 

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I can’t help you there, I was playing it on my iPhone and it sounded mint, but I’ll listen on some headphones later.

 

I get what you mean though, I think a proper studio ‘full’ sound is one of the hardest things for bedroom producers to emulate. At least I assume so, I’ve barely tinkered with this stuff.

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They're both great! I'm no expert at all but some of the best tips I read were about making sure your music has a 'space' to live in. I found it easier when I considered the sound exists in a 3D landscape – so, your bass is in the distance and is fuzzy and warm and lacks clarity, your mids are detailed and fill the space out and highs are the foreground, so crisp and high contrast. Some forced stereo widening on mids and highs adds some panorama too. This made it easier when I was gauging how everything sat together.

 

The other thing I found was just adding in some white noise or recording some vinyl static or some field recordings of rain or whatever filled out the gaps in the sound. For whatever reason that made it feel more real. It's a bit more difficult with UKG though as that just usually has super clean production. Someone like Instinct (UK) seems to pop some tail end on some of their hats and chuck a lot of risers on which adds loads of contrast when they drop everything out in a buildup. Don't be afraid to stick a human element in there too. Sometimes a shaker or recording yourself with a box of Tic Tacs and setting it as a mad time signature like 5/8 makes things really interesting. I guess it's about having stuff there that's not programmed music as such and adding randomness.

 

A lot will be mastering though. It could be as easy as pumping a side chain compressor over those pads which would tie that all together. On this track I think he's just got some noise and linked it to duck out under the kick which works a treat.

 

 

These two are brilliant if you want any plug-ins though. Ozone transforms your tracks and is super intuitive, and that Sound Heater is a freebie that really adds some randomness to proceedings. 

 

https://www.izotope.com/en/products/ozone.html

 

http://sidebrain.net/sound-heater/

 

I feel your pain though, there's nothing worse than being 95% there and feeling it's not quite right. Keep persevering though as they really are good.

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On 27/09/2022 at 11:20, Art Vandelay said:

 

The other thing I found was just adding in some white noise or recording some vinyl static or some field recordings of rain or whatever filled out the gaps in the sound. For whatever reason that made it feel more real. It's a bit more difficult with UKG though as that just usually has super clean production. Someone like Instinct (UK) seems to pop some tail end on some of their hats and chuck a lot of risers on which adds loads of contrast when they drop everything out in a buildup. Don't be afraid to stick a human element in there too. Sometimes a shaker or recording yourself with a box of Tic Tacs and setting it as a mad time signature like 5/8 makes things really interesting. I guess it's about having stuff there that's not programmed music as such and adding randomness.

 

On this track I think he's just got some noise and linked it to duck out under the kick which works a treat.

 

I meant to say, this is all really great advice, thank you. Especially the stuff about adding a human element; I've realised that's completely missing from what I'm doing, everything is just strictly quantised repeating patterns, like I'm an AI that's been fed a load of UK bass music :lol:

 

And the last bit is something I'd never have actually noticed but it seems so obvious how much of a difference it makes to the track now you've pointed it out!

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No worries! I haven’t a clue what I’m talking about when making my own stuff but can recognise when someone is hitting the same roadblocks I have. One thing I found massively helpful was getting autoplayed a David Guetta tutorial on YouTube, weirdly. It’s not my sort of thing at all, but he has a really straightforward way of describing the theory of how to turn something from a small idea into actual music. I didn’t want to make a commercial pop-house hit so tried to make things I actually liked, but in doing so just blasted past without really understanding the basics. Things like risers and breakdowns and just stealing the standard western pop structure instantly make it recognisable as a song rather than ideas in a row.

 

That’s not a critique of your stuff by the way, just observations from my experience!

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  • 1 month later...

Last uploaded to my main SoundCloud

two years ago 

 

https://m.soundcloud.com/sean-robertson-981839174

 

now, there are at least 600 garage band tracks on my phone/cloud

 

Started and filled a second sound cloud account earlier this week

 

https://m.soundcloud.com/user-100093979

 

Started uploading to my third account today:

 

https://m.soundcloud.com/user-506799254

 

and as I’m uploading and deleting the stuff on my phone more old tracks are becoming available. From somewhere

 

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Not sure if this is the right place to ask but it seems like somewhere I’ll actually get a knowledgeable answer:

 

I’m trying to produce some basic music for a game I’m working on, but I have no idea what I’m doing. I’m using MPC Beats because it’s free and seems pretty easy, but I’m finding I have two major questions that might be incredibly obvious but are also kinda awkward to find straightforward answers to.

 

Firstly, could someone explain in very basic terms what mastering is? I hear people say this a lot, but I’m just not 100% sure what they mean by it. I know it’s a process you do on your finished track, but I’m not getting what it entails.

 

Secondly, are there decent free VSTs or do I have to pay for them? I’m struggling to find any in usable form for free but maybe I’m not looking in the right place. I just want some strings to add to my track and don’t have any in the free sample libraries I’m using, but articles online are suggesting I download an entire orchestra suite from spitfire labs and I can’t actually load the sounds as an instrument in my DAW. It feels incredibly complex and kinda overwhelming. 

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Mastering is the process of producing a final mix from the recording process and producing a master recording that copies will be mastered from.

 

It would include spacial positioning in L/R stereo, adding any equalisation, compression and so on and so forth.

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