Music Production

You can sort of still feel and sense the attatck and the vestibular effect of the keys being played despite their tones being filtered out?

This is a neat demonstration of how low-pass filters affect D/A converters. Might mess around and try to replicate this test.

I'm just going to use fl mobile. been wanting to release something recently and want to try routenote, which is a free distributor. Those are fun cuz we can look back in like 10 years and songs will still be there. Wanna make a song with me? Routenote is apparently good but slow and strict about pirated samples. Neither of those bother me so i thought to try them. I dont care how good or bad u are at musics.

u send me something or i send u something and we pass it back and forth a few times and release it?

Hey everyone, anyone here into VCV Rack or Cardinal ? Or any other similar software like Pure Data for example ?

I’ve really got into it recently, and was wondering if people on Lemmy were interested. Should I post stuff here or start a specific community ?

cross-posted from: https://lemmy.ml/post/25877658

Sampled my friend's HAM radio while they were driving.

Does a sitar bridge effectively clip the waveform of the string? It certainly adds new harmonics.

I had a friend say it's more like the string being plucked or re-excited, inharmonically in this case.

Might this be like feedback?

I use the most recent LMMS git version for my music + a ton of extensions, feedback would be nice

I like making music on my iPhone with GarageBand. Working within the limits makes for some interesting results. Obviously mastering is a bit difficult, but I got my music to where I enjoy it, and I hope others will too.

I’m on Apple Music with my first release. I’m just waiting for the other streaming platforms to release it as well.

I’d love feedback/criticism! I suppose my “schtick” is that I make mobile music, so bear that in mind.

Eventually I’ll learn how to use software on my Mac to produce, but for now am content with the setup I use.

I hope this is OK to post here.

cuz ive never heard one on, say, Pandora. Do they still get played somewhere?

I'd love for others to share theirs!

So in my current era of musicmaking, I am taking my best epic 7 to 13ish minute songs that were each easily 100+ hours to make and many versions to get there, along with a few smaller gems, and adding layers in fl mobile and, later, in fl studio. I like to add about 9 instrument layers in a version in fl mobile, 50ish (but as many as 100 in one totally epic song) in fl studio, and, the new thing i hit on is a great process for getting songs in to Fl mobile. I so far have done up to 14 versions of songs, each a huge amount of layers built on the last. It's always possible to make something cooler.

So our first image is this.
We add a limiter so it doesn't ever distort from combined volume. And we also lower the volume of the Audio Clip layer down from where it starts (the level of Master) so we have room to play with before hitting the limiter.

And then just make a base 'good' instrument and clone it 7 times. Each instrument is a synth or recording (barely in view above), then an equalizer, then a reverb. I found I used these three so much, since they all do crucial things to make sounds sound good, that they might as well all 3 be on every instrument. So make that instrument sound good, clone it 7 times, and there's your high quality starting sound to diversify from while maintaining or raising the quality. thus song.

Hope you enjoy. FL Mobile is cheap and good. It calls to you.

bye :)

cross-posted from: https://lemmy.world/post/24728973

IIRC that NTE chip is a classic LM386 amp. This was one of my first electronics projects. Other than the chip and a few passives, it is all junk. I was building a center divider so that a small cord could be kept in the other half of the case and to mount the battery holder, switch, and barrel jack for using a DC wall wart instead of batteries, but never got that far.

cross-posted from: https://lemmy.studio/post/4023756

Intro video

Tried it out yesterday, it's 'pay what you want' (+ a bit of data in that you have to give them an email address). Works pretty well, even if the interface is a little esoteric compared to some other plugins that allow you to set a specific bit depth.

The closest I can think of are

• gradual increase in volume and
• playing with panning to start from left or right and gradually moves towards you ~~center~~ (i think you might need to physically place the output speaker so the left or right its playing from is farthest away from you)

Feel instinctually like reverb might have some application here but i know almost nothing about it

Mikey Shulman, CEO of AI music generation startup Suno, actually thinks people don’t enjoy making music anymore. “It’s not really enjoyable to make music now,” according to him.

I've been pondering ways to run my guitar through VCV Rack or Cardinal, and of course Sarah Belle Reid had this inspiring demonstration.

Mikey Shulman, the CEO of AI music generator company Suno AI, argued that most people don't enjoy the "majority of time" making music.

Would anyone be willing to lay out their experiences with DAWs? Preferably free ones? I tried waveform, but I'm thinking I'm going to use Cakewalk. A lot of people say Reaper, but the UI seems lackluster. What do yo think?

I assume that refers to how much is allowed to get thru the filter but it seems qualtatively distinct from simply raising or lowering the over gain of the track. There's something about it that makes things indiscrimately softer or something maybe?

I notice putting in against or covered by thicker fabrics or soft blankets it causes almost like a sort of treble reduction and low pass filter kind and has a slight effect on the volume perceived

Another cross-post from my blog.

There is much ado about fancy mics among musicians and engineers, just as there is much ado about fancy guitars among guitarists. And don’t get me wrong, these instruments can certainly sound inspiring. However, any guitarist worth trusting will tell you that so long as the instrument isn’t unplayable, you can make great music with it (and some have written and even recorded with beater guitars).

It’s not so much about the mic as it is the engineer. Having been through a handful of mics so far, I have not been rid of my “touch” with a microphone. It always sounds like me, whether I like it or not. I’m choosing to let myself like it.

I once heard Tina Weymouth share at a Q&A, “If you have ears, you can make anything sound good, if you’re enjoying it.”

Cross-posting this from my blog. You can hear an audio demo of the technique there.

I've been thinking a lot about the importance of silence in music, and I dreamed up this technique, using a sequencer to more-or-less randomly mute a signal. The idea was to program a beat but then have the sequence be periodically interrupted by silence. I was partly inspired by this tai hirose track.

Now you could just as well make cuts by hand, in post, with the mouse. But where's the fun in that? As the title suggests, I wanted something more generative.

In Reaper, we can use Gerraint Luff's MIDI Gate plugin to trigger mutes or gates. Insert it on a track, feed it some MIDI, and depending on the mode, it will mute the channel whenever it receives MIDI information (or whenever it doesn't, if it's in gate mode).

To set this up, I followed Reaper Blog's MIDI Gate tutorial. In short, I programmed a kick drum part, then sent the audio only (not MIDI, which is important) to a receive track, and muted the former track's master output. On the receive track, I inserted a sequencer plugin and the MIDI Gate, one after the other. I made a simple MIDI sequence to trigger the gate. Since my original kick drum pattern was in 4/4, and since I wanted a semi-random sound, my gate trigger sequence was a 3/4 loop, which resulted in polymetric mutes. (Next time I experiment with this, I plan to use a truly random sequencer from Cardinal or something.)

The result is a groovy kick drum part that doesn't finish its sentence sometimes. I did the same on the tops percussion part, experimenting with MIDI Gate in mute mode or gate mode to see which I liked better. For added polish, because I noticed that sometimes MIDI Gate would let just the tiny blip of the first transient through, I inserted a plain old gate plugin next in the chain to cut out any tiny blips below a certain volume threshold. I then added a hi hat loop and played some nylon guitar over it so the track would feel a little more tethered to 4/4.

The neat thing about this semi-generative approach is the element of chance. Sometimes the kick plays where I programmed it to, sometimes not. The trouble with making music in the DAW is having too much control. But the joy is when you can find ways to forfeit that control in ways that are unique to the DAW workflow. Electronic musician Jlin says in an interview, "Not having control and not knowing what I'm going to create is the beauty of how the track is made. Not only the beauty of it, but the, also is the necessity of how, and why it gets made, because I don't have control."

Another inside look video with many inspiring insights