Music and audio production

I’ve been told my style reassembles video game music. Let me know your thoughts!

https://www.dev.rofilm-media.net/node/337 In 12 articles I write about funny, strange or extraordinary experiences on my ways to discovering new “fresh” sounds to sample. Cheers and peace! Rolf #music #musicproduction #sound #sounddesign #musicstudio

A series of comprehensive in-depth articles about wheter, why and how to make generative music: https://www.dev.rofilm-media.net/node/335 Cheers and peace! Rolf #music #generativeMusic #musicproduction #musicstudio #modularsynths

Now you can experience the atmosphere and the workflow of the 1950s Electronic Music Studios: https://www.dev.rofilm-media.net/node/507

#music #electronicmusic #musicstudio

Eurorack vs. Semi-Modular Synths – a Comprehensive series of articles: https://www.dev.rofilm-media.net/node/336

An in-depth comparison for the music producer of todays Cheers and peace! Rolf

I think I was at my most creative and prolific around 20 years ago, with my best stuff being released around 2007-2008. I started dabbling with Cakewalk around 200, which later became Sonar.

But then Sonar took a direction that really messed up my workflow.
But not long after I suddenly had an unrelated career.
And then I had a family to take care of.

In other words, life got in the way. Plus I had permanently migrated to Linux, and despite many attempts I couldn't quite get into it.

However, thankfully I found Bitwig, and I feel like I'm not at a place where I can start doing it properly again. But of course, all the synths and plugins I used way back when are probably out of date. So any tips for replacing these?:

Native Instruments Guitar Rig - Guitar effects and processing
Edirol Orchestral - Orchestra oriented softsynth
Steinberg Hypersonic - general purpose softsynth
Drumkit from Hell - Drum softsynth

Also, is there anything new in terms of tools, techniques, and processes that have emerged during the past 20ish years I should be aware of?

cross-posted from: https://lemmygrad.ml/post/7163188

Anyone else listened to this? Nice collab.

What do you think?

Trying to find other songs by Shaddix and The HU.

Just curious to gauge how many Lemmy users utilize bitwig as their main DAW? As well, what kind of music genres do you tend to make? Post some of your material if you're down! I'll start:

Mostly do bass music at 88bpm, dnb at 172bpm, and guitar centric music at whatever bpm feels right. Here's twos tracks I have made with Bitwig:

Guitar centric: https://on.soundcloud.com/iJEjY4SwPHkY67Lx7

Bass: https://on.soundcloud.com/NVohHyu96KU9jN8w6

cross-posted from: https://lemmygrad.ml/post/7132803

The 50s to 80s era of the USSR fascinates me quite a bit and I wish I could learn more about it.

Nothing biased, of course, but the science advancements, especially in the social sciences, have interested me, and their support for African liberation.

I don't particularly care for dubstep but am more into traditional EDM, trance, electro-house. Basically, anything using simple or modified four-to-the-floor styles with heavy synth work. (Deadmau5, Rabbit in the Moon, Tiesto, etc, etc...)

Recently, I have been playing the game of "duplicate the sound" with my soft synths. I'll hear a song in my car driving back from dropping the kid off at school in the morning and then spend an hour or so with my soft synths duplicating a sound with its effects before I start work.

Copying Rezz has been interesting though. Her "signature" bass sound is a saw with a hair of distortion with some really cool (but still simple) LFO/filter work for rhythm. Add some traditional sidechain compression tied to a kick and most of the work is done. Where she excels is tying in lots of fx into the overall rhythm of the bass that seems to have lots of dubstep'esq influence.

That led me into (newer) dubstep with the drones, wobbles and all-around crunchy bass. Truth be told, it was an eye opener a few months ago when I discovered that most of the crazy "bass rhythm" sounds live above 500hz and that a basic sin wave below 500hz is all you really need for power.

My main issue is that I can't quite duplicate traditional dubstep and/or even super-clean wobbles. (An example here at 1:44: https://youtu.be/CNiLnw1t0UU)

I have figured out that (especially in the example above) that most of the sound is just lots of low and high pass filter work, probably tied to what I know as an "automation" in FL Studio. (I don't know if that is a general term or if it's FL Studio specific.) Hell, I was playing a couple synths tonight free-style and got super close to some of the key sounds, actually.

When I try and expand on that with, say, Skrillex type bass, I simply don't even know where to start or what tools and techniques to use to distort and destroy the bass line into something like dubstep.

I guess, after all of that, if you wanted to make some really crunchy bass lines, what techniques would you use?

I'm working on rearranging my eurorack, plus I'm waiting for some new modules (Error instruments). Synth tower are synths on monitor arms around a 19" module mount.

Consider using FreeTube, an open-source program for YouTube, because your privacy is important.

For the other audionerds, or real mixing engineers out there: I just buy a Behringer X-Touch to control Reaper and plugins, and it's awesome! I started with DrivenByMoss to extend functionalities. I am starting to build a workflow around that and looks promising. Do you have any standard for your mapping on surfaces like that? I am focused on mixing now, I didn't map any button for editing, for example. This thing can be nice to edit video on Reaper, too. @musicproduction @audiopro @audio

I have a (weird) question: Is it possible to connect a 3.5mm cable to a microphone‘s headphone out and the other end to a iPad‘s audio in, and record with it? I know an iPad is far from ideal, but there is no other options for me right now.

nobs or sliders?

ive been thinking about this for a while but each time i think i pick a side i get pulled back.

digital or analog makes a difference too.

I'm having different audio sources that I want all to be played by the same boxes. I don't expect anything fancy, only bringing the signals together (hence I hope to get it cheap) while maintaining the quality.

As I read through the internet, when it comes to quality it's where all the affordable ones seem to stay behind. And I'm afraid of tuning the sound to an ill manipulated signal that is added by the mixer and not the track itself.

I first thought about Behringer MX400.

Any experiences on that field? Am I over-engineer it or is this a valid error source that I would introduce, which wasn't there before?

Thanks ahead!

Hi! Im searching for a midi keyboard that meets these requirements:

• has a nice feel to it, preferably slightly weighted keys (currently I have a Yamaha keyboard, that feels a little too cheap for my taste)
• is as flat as possible, so I can store it under my desk in a drawer
• I don't care about knobs, pads or daw control
• maybe 40-50 keys? I'm flexible on that one

I would like to stay under 200€.

Thanks a lot!

The one trick that Big Music doesn't want you to know!

I was absolutely struggling when I went to do a final mix after writing everything in stereo. For me, it was a whack-a-mole game: Fixing one problem created ten more, bass was unmanageable, highs tended to blare or everything was a midrange soup and I constantly struggled with frequency cancellation.

Above all other problems, music was not portable. It would sound great with headphones, but became a blown out mess on external speakers.

Mono. Just write everything in mono. If the track sounds good in mono, even just the slightest bit of stereo separation makes it sound awesome!

As a perk, it forced me to learn more about compression and limiting and when it is applicable. If something is inaudible in mono, it's going to sound like absolute garbage in stereo. (It also forced me into EQ'ing nearly every component of a song at first. I am not nearly as aggressive with that now, but again, it opened up new doors that I didn't realize existed.)

Why, oh why, is this technique not pushed more to hobbyists and beginners? Is there a shortcoming that I am not aware of?

Obviously, this isn't a cure-all and I kinda framed this post as a magic trick. Its one hell of a teaching tool, if nothing else.

Made on the dirtywave m8 tracker.

There are a number of questions online dealing with this subject, but many answers are contradictory, or aren’t familiar with what a soundfont is, and few seem to acknowledge that—according to the US Copyright Office at least— you can’t copyright a recording of an individual note (See the Compendium of U.S. Copyright Office Practices Chapter 300, Section 313.4 (B)). That said, I was only able find one Reddit thread where someone brought up specific cases tied to the issue, and there was still some confusion within that thread.

I’m making original compositions, and I still want to properly credit the website I got a soundfont from, because I think that’s the right thing to do, though it’s not required. The site offers them for free and seems to have all its own rights in order. To my knowledge, all of the recordings were explicitly made for use in this manner, not ripped from other copyrighted material, but it would put my mind at ease to be sure someone couldn’t change their mind years later and have grounds to sue me for royalties because somewhere buried in the individual recordings of individual notes is, like, a piano where the c-sharp is especially pianoish.

I’d like to believe I’m in the clear, but am I misunderstanding anything here?

(Tried to ask this on Reddit’s music production sub and the post was removed without explanation. Never heard back from mods when I reached out. Very strange.)

Thank you for your time.