Making a great sounding pad is actually more tricky than getting some cool synth and drowning it in tons of reverb. I know I tried that the first time. And failed miserably. You don't have to!
Will is gonna walk us through different tricks and ideas to flesh out an ambient pad. Using a root tone, texture tones for highs and lows, some effects and simple automations will allow you to create a cool and easily customizeable(!) pad from scratch with any and all wavetables that you want in there!
Hope you find it useful, guys! AMN out!
cross-posted from: https://sh.itjust.works/post/1335528
Making a great sounding pad is actually more tricky than getting some cool synth and drowning it in tons of reverb. I know I tried that the first time. And failed miserably. You don't have to!
Will is gonna walk us through different tricks and ideas to flesh out an ambient pad. Using a root tone, texture tones for highs and lows, some effects and simple automations will allow you to create a cool and easily customizeable(!) pad from scratch with any and all wavetables that you want in there!
Hope you find it useful, guys! AMN out!
Making a great sounding pad is actually more tricky than getting some cool synth and drowning it in tons of reverb. I know I tried that the first time. And failed miserably. You don't have to!
Will is gonna walk us through different tricks and ideas to flesh out an ambient pad. Using a root tone, texture tones for highs and lows, some effects and simple automations will allow you to create a cool and easily customizeable(!) pad from scratch with any and all wavetables that you want in there!
Hope you find it useful, guys! AMN out!
Modern games have become too focused on providing a clean, balanced and no-real-obstacles experience. Sometimes I want to play a game that is a cohesive experience without being laser focused on some big idea about how I should play it. As an example, I've recently replayed arx fatalis. It's really fun how you can do everything in that game that you'd want an npc for in any other. It's also fun how each playstyle requires its own big chunk of knowledge about how the game works. Modern games try too hard to be minimalistic and fail to see the fun in a truly open experience. Even when you have options, they have all the fun pre-balanced and pre-optimized out of them. They give you too much info. No sense of discovery
Do you ever feel like you can make a great loop but you can't make a great song? I don't know if that's your experience, but I've been there before, and let me tell you, it's a nightmare. It brings to question all of your skills that you have developed so far, because you've been able to cruise through without thinking about it. But now it just isn't enough! I needed more variety in my tracks.
So if you're like me then this video is just for you. Nathan goes into a key concept about arrangement that will help you think about it in a much more constructive way. Every instrument can be played with different articulation, loudness, rhythm, etc. and it doesn't have to play all the time. So Nathan poses three big questions of arrangement: what is playing, when is it playing and how is it being played?
This video will show you how these questions give you insight into what you were doing subconsciously (and how to answer them in a creative way). It will provide you with a simple thinking process for arrangement decision-making that will ease up some of that tension between hearing the song in your mind and putting it into your DAW. So try it out!
cross-posted from: https://sh.itjust.works/post/802615
Do you ever feel like you can make a great loop but you can't make a great song? I don't know if that's your experience, but I've been there before, and let me tell you, it's a nightmare. It brings to question all of your skills that you have developed so far, because you've been able to cruise through without thinking about it. But now it just isn't enough! I needed more variety in my tracks.
So if you're like me then this video is just for you. Nathan goes into a key concept about arrangement that will help you think about it in a much more constructive way. Every instrument can be played with different articulation, loudness, rhythm, etc. and it doesn't have to play all the time. So Nathan poses three big questions of arrangement: what is playing, when is it playing and how is it being played?
This video will show you how these questions give you insight into what you were doing subconsciously (and how to answer them in a creative way). It will provide you with a simple thinking process for arrangement decision-making that will ease up some of that tension between hearing the song in your mind and putting it into your DAW. So try it out!
Do you ever feel like you can make a great loop but you can't make a great song? I don't know if that's your experience, but I've been there before, and let me tell you, it's a nightmare. It brings to question all of your skills that you have developed so far, because you've been able to cruise through without thinking about it. But now it just isn't enough! I needed more variety in my tracks.
So if you're like me then this video is just for you. Nathan goes into a key concept about arrangement that will help you think about it in a much more constructive way. Every instrument can be played with different articulation, loudness, rhythm, etc. and it doesn't have to play all the time. So Nathan poses three big questions of arrangement: what is playing, when is it playing and how is it being played?
This video will show you how these questions give you insight into what you were doing subconsciously (and how to answer them in a creative way). It will provide you with a simple thinking process for arrangement decision-making that will ease up some of that tension between hearing the song in your mind and putting it into your DAW. So try it out!
Ah, yes, the OTT. I got it up there for ya!
As you might've noticed if you visited our community page after this post, I made a very cool looking banner (or so my mum tells me). Thing is, I don't use that many plugins on my own, and what better way to make the banner look interesting than to put your favorite plugins in there? This page will also serve as a cool overview of different plugins our community uses, so be sure to post all of your favorites! I'll pick the coolest-looking ones for the banner!
This post is gonna stay up until I decide that the banner is done (and perhaps we'll make it a seasonal thing to swap it out, who knows?) I'll update this banner in my spare time when you guys post some things to add.
To get on the banner, comment the name of a plugin and the company or a name of the person who made it. You can also post a link to its page or your own screenshot of the plugin, if you want.
I don't know what the limit is to how many plugins I can put in the image, but we should have a lot of space (and we're not limited to the amount of spots currently on the list). I suppose as long as every individual plugin is recognizable when shrinked, we're all good!
Right now the banner features:
(in order: columns from left to right)
- Pro-Q 3 by Fabfilter
- SPAN by Voxengo
- Denoiser by Bertom
- Vital by Vital Audio
- MSED by Voxengo
- OTT by Xfer posted by u/iKill101@lemmy.bleh.au
- sforzando by Plogue
- Maximus by Image-Line
- XO by XLN Audio posted by u/can
- Sytrus by Image-Line
- 1176 Collection by Universal Audio
I'll swap out the placeholders for your submissions and credit you! Like this:
Stuff by Cool People posted by u/supercoolperson
And that's about it. Sh.itjust.works and waveform.social will have different banners (in the same style), so we can do something different with both of them! Post away!
Mixing in mono is one of those production "tricks" that have solidified in my mixing routine to achieve clearer mixes. It's a really easy shortcut to hearing levels and even frequencies of everything in your track without the distraction of stereo imaging. It also helps to figure out phase issues between closely tuned kicks and bass and correct your synth sound design too!
But sometimes the immediate benefit it gives us gets outweighed by a longterm one of improving your critical hearing skills. For example, if you use mono to hear frequency fighting between instruments, you're undercutting your learning experience of properly working with frequencies in stereo. After all, it's not uncommon to pan different instruments asymmetrically. Having stereo means you have two different signals that should be shaped on their own terms.
Michael is going to walk us through some of the things that mixing in mono can be used for and give some perspective on how those particular uses stack up in a more robust or specific production workflow. And, I hope this knowledge helps you in your own productions!
Mixing in mono is one of those production "tricks" that have solidified in my mixing routine to achieve clearer mixes. It's a really easy shortcut to hearing levels and even frequencies of everything in your track without the distraction of stereo imaging. It also helps to figure out phase issues between closely tuned kicks and bass and correct your synth sound design too!
But sometimes the immediate benefit it gives us gets outweighed by a longterm one of improving your critical hearing skills. For example, if you use mono to hear frequency fighting between instruments, you're undercutting your learning experience of properly working with frequencies in stereo. After all, it's not uncommon to pan different instruments asymmetrically. Having stereo means you have two different signals that should be shaped on their own terms.
Michael is going to walk us through some of the things that mixing in mono can be used for and give some perspective on how those particular uses stack up in a more robust or specific production workflow. And, I hope this knowledge helps you in your own productions!
You made a second post that is the same, mind if I take this one down? Your previous one seems to work just fine, and I suppose if you were to try something else you could try the upload image feature next time? Instance servers allow for uploads.
I see. Though, with the rate we're growing right now we might not stay small for very long, lol. I think keeping the quality bar where people don't just post random stuff with no discussion whatsoever is quite important, and as long as everyone respects each other it should still feel like a small cozy place.
I'm gonna hold off on the decision until I see a bit more input, but if the general sentiment is that staying open is better, I'm not gonna go against the flow there. I just wish Lemmy devs added some features to counterbalance the fragmentation of the fediverse
Wrote a long winded-reply and my internet cut off when I sent it so I'll keep it brief. I agree that we don't want to centralize. However, Lemmy isn't feature complete. I'd love us to have some more reach. I don't need control over where that reach goes or how big this community gets, I just want it to be big enough to be functional. And functional means having enough folks with knowledge to help out new guys and being able to able to post a thread looking for advice and be likely to get replies. That's all I want. And for that to be a reality, Lemmy needs to step up it's cross-posting game from reddit. I don't like the attitude of FOSS community with regards to things like Linux, that user experience issues is a user problem, not a software problem, "just use the console, bro", though that's been getting better over the years. I just have to disagree there, it's only valid up to a certain point that is reached far too quickly. I feel like we shouldn't make it harder on users than we absolutely have to.
That said, you're right, I don't own this c/ and I don't dictate the rules. I just hope that the rules we can agree on will help us build a community that people want to join. That's my goal.
Alright, I've had some time to think about it, and we're gonna be staying open to comments. Sorry if this post upset you earlier, it wasn't my intention to be dramatic (though I understand that I most likely was). I'm not great at these things.. yet. I hope Lemmy's cross-instance communication options improve and we can get a better way to comment on posts between different communities later down the line. For now, we have to put in work to make this community and fediverse grow, so we can have a place to share knowledge and emotions that no corporation will run into the ground for profit.
Contents of this post before the decision was made, for reference:
spoiler
This community was created when I just started browsing on Lemmy, so I really had no clue about what is the best way to handle a community here. Considering the nature of fediverse, it's not a question that's easy to answer. And I still don't have a perfect answer, but I think I might be closer to it.
What I want to do is to lock all posts from future comments on sh.itjust.works. I have a couple of good reasons to do this and a couple of reasons to reconsider. I'll go over them in a list and try to keep some perspective on them.
Reasons to lock
I want to direct discussion to music instances for everyone's convenience. A single place for music discussion, so you don't have to switch over multiple posts and check if somebody is talking about the same thing. I understand that the idea of the fediverse is to decentralize, which I fully agree with. Unfortunately, the functionality of Lemmy right now doesn't play well with that idea and provides a horrible user experience in return for following it. Compromises have to be made.
Also, having most music-production discussion, communities and posts in one instance will make it easier to find related content. Browsing communities on waveform is way easier than trying to guess all possible names that a music community might have. For example, if you search for "Music Production" on lemmy community browser, you might not find "Ableton" or "FL Studio" communities that are directly related to it and there are many more community names that are not easily guessable (like there used to be on r***it, with places like r/trees or r/worldpolitics, nsfw warning). I hope you get my point there.
Finally, I feel like a lot of users have anxiety over posting at a correct place (same as me, same as it was on r***it), so restricting comments to one instance will help us reduce anxiety and help first-time commenters and posters make the initial push. (Maybe rewriting the sidebar to be a bit less imposing will help that too)
Reasons to not lock
I understand that some people found this community on sh.itjust.works and appreciate the convenience of being able to do everything here. I don't want to take away from that if I don't have to. Good news is, these problems are known by the devs and better synchronization between instances and cross-posts will come, so the measure is going to be temporary while Lemmy is busy getting better developer support from FOSS community.
In addition, there is an argument to be made about archiving of knowledge and redundancy. If we lock comments to just one instance, if that instance goes down (temporarily or forever), all of the history made on that instance could be gone too.
As far as I know, other servers definitely keep records of servers they federated with, but searching for copies of posts might get more difficult in case of one instance going down as not every server is going to have every community discovered to archive it (and I do not know if there are any other limitations to that feature). Again, that's something I can only partially address as a community moderator, as the issue lies in the platform. It's inevitable that we're going to lose some history if the worst is to happen. Sh.itjust.works isn't immune to that either, so that's that.
Locking down comments won't stop me (or others) from posting here either and I'm going to keep posting here for the forseeable future. So if you're here just for the content, you don't have to worry.
I hope you guys can provide me with some input on this, because as it stands, I don't want to upset what we have right now, so this is something I can only do with your agreement. Let me know what you think about this issue and whether you consider it an issue at all. You can comment here, send me a DM or talk to me on my matrix chat, which should be working. Any feedback will be helpful here. Thanks
This is one of those techniques that can really push you over from intermediate to pro. You need a good grasp on compression: what it does to your instruments and how it affects their texture. Parallel compression is simple, yet subtlety is what makes it work, you need good ears for compression for this to work in your favor.
The essence of parallel compression is immediate and delicate control of the different textures in your recordings or even synths. You make a compressor for different elements of the instrument. In drums it is your punches, your transients and sticknoises, your long releases on snares and the color of all noises: bright, muddy, etc. Sometimes a compressor will affect multiple qualities (but not all of them). Then you make your compressors exxagerate the elements you choose separately. Then you mix the compressors in a way that you find pleasing.
That's what I've gotten out of the video and if you want to get a better grasp for the subtleties with apt explanations from Gregory, then that's the spirit! Go watch it! If you can't hear the differences, try increasing your speaker/headphones volume. The effect is subtle so don't go too loud, just enough to hear the differences described. To avoid any potential hearing damage (in case you do go too loud and/or you listen on headphones), limit your loud volume listening to ~15 minutes or so.
cross-posted from: https://sh.itjust.works/post/664074
This is one of those techniques that can really push you over from intermediate to pro. You need a good grasp on compression: what it does to your instruments and how it affects their texture. Parallel compression is simple, yet subtlety is what makes it work, you need good ears for compression for this to work in your favor.
The essence of parallel compression is immediate and delicate control of the different textures in your recordings or even synths. You make a compressor for different elements of the instrument. In drums it is your punches, your transients and sticknoises, your long releases on snares and the color of all noises: bright, muddy, etc. Sometimes a compressor will affect multiple qualities (but not all of them). Then you make your compressors exxagerate the elements you choose separately. Then you mix the compressors in a way that you find pleasing.
That's what I've gotten out of the video and if you want to get a better grasp for the subtleties with apt explanations from Gregory, then that's the spirit! Go watch it! If you can't hear the differences, try increasing your speaker/headphones volume. The effect is subtle so don't go too loud, just enough to hear the differences described. To avoid any potential hearing damage (in case you do go too loud and/or you listen on headphones), limit your loud volume listening to ~15 minutes or so.
This is one of those techniques that can really push you over from intermediate to pro. You need a good grasp on compression: what it does to your instruments and how it affects their texture. Parallel compression is simple, yet subtlety is what makes it work, you need good ears for compression for this to work in your favor.
The essence of parallel compression is immediate and delicate control of the different textures in your recordings or even synths. You make a compressor for different elements of the instrument. In drums it is your punches, your transients and sticknoises, your long releases on snares and the color of all noises: bright, muddy, etc. Sometimes a compressor will affect multiple qualities (but not all of them). Then you make your compressors exxagerate the elements you choose separately. Then you mix the compressors in a way that you find pleasing.
That's what I've gotten out of the video and if you want to get a better grasp for the subtleties with apt explanations from Gregory, then that's the spirit! Go watch it! If you can't hear the differences, try increasing your speaker/headphones volume. The effect is subtle so don't go too loud, just enough to hear the differences described. To avoid any potential hearing damage (in case you do go too loud and/or you listen on headphones), limit your loud volume listening to ~15 minutes or so.
Hey. I've noticed this community has been pretty silent for quite a while. This was one of the reasons I made a music production community over at waveform.social (link below). If you want to discuss music stuff, a specialized instance is way better than sticking to the drama of large instances (a lesson I learned only after creating the community at sh.itjust.works)
I've been posting content over at waveform.social, lemmy.studio and sh.itjust.works, all in their respective music production communities.
Waveform.social and lemmy.studio have other active communities related to making music all about synthesizers, gear and DAWs.
If you want to participate, head over to any instance that strikes your fancy and check it out!
Waveform.social link: !musicproduction@waveform.social
Lemmy.studio link: !musicproduction@lemmy.studio
Sh.itjust.works link [Warning - General instance]:!musicproduction@sh.itjust.works
On the off-chance that the community moderator here is still active, feel free to delete this post. I'll be happy to post my content here if I know it's still being moderated!
This one might be obvious to you folk who have worked on pro recordings. Compressing vocals and compressing instruments require different mindsets. Different in the way that you shouldn't be afraid to compress your vocals to -10 and -20db, while your instruments are at a subtle -2 to -5 (and I don't even limit myself there, because I love distorting my drums).
This video will show you every trick you did before: eq, automation, reverb, etc. and compare it to compression in the context of a rock track.
cross-posted from: https://sh.itjust.works/post/595211
This one might be obvious to you folk who have worked on pro recordings. Compressing vocals and compressing instruments require different mindsets. Different in the way that you shouldn't be afraid to compress your vocals to -10 and -20db, while your instruments are at a subtle -2 to -5 (and I don't even limit myself there, because I love distorting my drums).
This video will show you every trick you did before: eq, automation, reverb, etc. and compare it to compression in the context of a rock track.
cross-posted from: https://sh.itjust.works/post/595211
This one might be obvious to you folk who have worked on pro recordings. Compressing vocals and compressing instruments require different mindsets. Different in the way that you shouldn't be afraid to compress your vocals to -10 and -20db, while your instruments are at a subtle -2 to -5 (and I don't even limit myself there, because I love distorting my drums).
This video will show you every trick you did before: eq, automation, reverb, etc. and compare it to compression in the context of a rock track.
cross-posted from: https://sh.itjust.works/post/529140
> This is a great video overview on just the neccessary bits and nuances of making Drum'n'Bass. What I like about this specific video is that it helps you understand what is possible within the genre and doesn't restrict you like an instruction manual. > > It will help you to familiarize yourself with the core concepts of DnB and give you some pointers on how to give your tracks a cohesive structure within it! Highly recommend.
cross-posted from: https://sh.itjust.works/post/529140
> This is a great video overview on just the neccessary bits and nuances of making Drum'n'Bass. What I like about this specific video is that it helps you understand what is possible within the genre and doesn't restrict you like an instruction manual. > > It will help you to familiarize yourself with the core concepts of DnB and give you some pointers on how to give your tracks a cohesive structure within it! Highly recommend.
This is a great video overview on just the neccessary bits and nuances of making Drum'n'Bass. What I like about this specific video is that it helps you understand what is possible within the genre and doesn't restrict you like an instruction manual.
It will help you to familiarize yourself with the core concepts of DnB and give you some pointers on how to give your tracks a cohesive structure within it! Highly recommend.
Defederation is a double-edged sword. In the end, those who defederate will lock themselves into a smaller space and lose out on content produced by users outside of their instance. With how hard it currently is to discover content, a big instance defederating from lots of other instances with little good reason can easily backfire. At least that's how I see it from what I currently understand about Lemmy.
I think people are trying to defederate to filter content, which is not something that defederating is good for right now, cause every big instance has a lot of diverse communities. Also, there's been concerns about bots and safety which makes sense, but that doesn't mean that we're under risk of staying defederated permanently or for any significant amount of time. Moderation tools, content filtering and discovery needs to become much better before that resolved for everyone in a satisfying way.
As for /c/thedonald and communities like it specifically, it's ridiculous to take what seems to me as satire as 100% serious straight up bigotry, but I do understand that we've seen communities with origins in satire turn to serious on the internet before. I think an instance-wide flag for communities that signals that the content is satire when you open them or see a post from them. Allow communities to be created with it from the start but only modifiable by admins afterwards, so you can't take it away or add it after a community is made. It might just work to mitigate this problem and help punish rule breaking quicker and easier.
I'm a music production hobbyist! I write Metal, DnB and Video Game Soundtracks!
My other account: anthromusicnote@waveform.social