We are the music makers - producers?

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  • Trying to avoid corner traps because I find them visually unappealing and will be difficult to install as I have RSJ in 2 corners/along one edge of the ceiling + door in another corner.

    I don't mind so much the bass sounding 'louder' as I feel it's something will be relatively easy for my ears to adjust to/can check in headphones. Mainly trying to stop everything else rattling around the room a bit.

  • It's not so much that it's louder but that it's uneven (even more so given the square cross-section). You can get a feel for how the room translates and checking with headphones helps but I'd really recommend bass traps of some sort if you can fit them in somewhere!
    Bear in mind that corner = any meeting of two or more surfaces, so if your room is a cuboid, the corners are best but the edges work as well. Least effective is a big deep panel in the middle of a wall (what I currently have) but anything is better than nothing.

    https://amcoustics.com/tools/amroc?l=650­&w=300&h=300&r60=0.6 shows the modes for your room if you're interested!

    Anyway, like I said - first reflection panels will make a big difference, stopping a lot of flutter/ring and give you a much cleaner sound from the speakers. They will also trap a fair amount of bass if designed to do so.
    Diffusion panels look cool but I'd go with more absorption on the back wall for max control given the limitations.

  • Finally got the Portastudo involved. Some saturation for the Blackbox

    https://youtu.be/swEcB1v3P9c

  • Is this thread reserved purely for elctronic musicians or does electroacoustic composition & performance count as well?

  • No rules here! Post away

  • Cheers EB :)

  • liking this a lot!

  • Been making my way through the last few years of this thread and thought I'd introduce myself on here.

    I work electroacoustically - incorporating electronic and acoustic sources and finding ways to blur the boundary between them.

    I make what has been described as Post-classical/post-techno soundscapes.
    I prefer this to ambient.

    My solo project started 5 years ago, born from the ashes of my drums, double bass and contrabassoon acoustic trio.

    All the electronic sounds are either generated live by my contrabassoon or start life on an old Kawai F1000 analogue synth or a first edition Korg electribe ER1.

    Have a look-
    http://www.thomasstonemusic.com

    I play all around the UK, but I'm doing an intimate, free show on the 8th of November to accompany the private view of new abstract photographic artworks by my Sister at Thames Side Studios.
    It's a lovely ride out along the Thames so come along!
    https://www.thames-sidestudios.co.uk/new­s/exhibitions/thames-side-studios-viewin­g-room-alex-stone-9-nov-1-dec-2019

  • Sounds great! Is that you singing?

  • Nah not me unfortunately. It's bloody great though! Heavy Justin Vernon/ James Vincent McMorrow vibes.

  • James Blake also. Very much a conspiracy of Js. I listened to his other stuff too, but this one is definitely the standout cut.

    Incidentally I've put up some of my instrumental music on Soundcloud in the hope that someone making tv / film might want to use it.

    I'll be honest, I'm a little insecure about it. I've always been relatively successful in band terms but while I've had a lot of people use my music in free projects, no-one's ever really put their money where their mouth is and bought some. So I thought I'd give it one last bash.

    https://soundcloud.com/benedictedwards

    Comments very welcome - it's a blend of post rock, ambient, and classical music (of the Johan Johansson, modern minimal nordic school) with my first attempts at live drumming since I was in my 20s. If anyone fancies a collab on this stuff please shout.

  • That was bloody great man! I'm really enjoying some of these other tracks too!
    I'd love to jam on some of these but sadly am Dublin based :(

    Watercraft - Here

    Here's one I did play on. Produced by my pal Chris who also did guitars. I played bass. Drums were recorded on the same Neve console Portishead recorded Dummy with (another friend of mine owns it now.)

    All bass and guitars recorded on Fractal Audio Axe FX.

  • So I finally got a table (door) big enough to fit everything on. Photo before cabling so looks a bit less tidy now.

    I think having everything in the 'right place' has helped considerably. Still want the +8 inputs because I cant use any more than 1 of the 18 individual outs and to do that I have to mono one of the synths.

    Made a little recording and feel like I'm starting to get somewhere. The kick is compressed and the droney chord from the NF-1 goes through the Korg delay. Everything else straight out the synths:

    https://soundcloud.com/msc-infr/recordin­g-0811


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  • Thank you!

    And that's lovely. Really interesting mix of post rock and almost jazz in the drums - beautiful vocals too. Like a pretty Battles. If you ever make it over to London, I'd love to hear it.

  • Long disbanded I'm afraid but thanks for the lovely words!

  • Really liked that...Jealous of your NF-1...wanted one for ages and never managed to get one yet. :)

  • Thank you, gonna try flesh it out/develop it a bit and turn into a proper track.

    NF-1 is nice, I saw it in Steffi's tech talk then one came up on Reverb for pretty much half the retail price a couple of weeks later. Still need learn how to program it, at the moment just tweaking the preset patches.

  • got my ticket to Ableton Loop next year - anyone here going? I've not been since 2015 so looking forward to Berlin again

  • Every single time one comes up for a good price I'm broke. :)
    Regarding the outputs, I'm with you there. I built my whole studio around having individual outputs for everything possible so that I can have each sound on it's own channel on my desks, and be able to route them via anything through my patchbay. I know it's considered a really outdated, slow way of working, but what's the rush? :)

  • Did not know this existed but will most likely go as my friend moved over a year or so ago = can do it on the cheap.

  • Also, (probably) noob live question:

    I’m trying to record the bits of audio I’m satisfied with so I can overdub... Is there a way to make the tail of the waveform continue to play, but have the loop restart at 1.1.1?


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  • I'd suggest moving the whole loop (the blue bit above your audio loop) to the right by one measure. Drag the 'start point' flag (which is the grey triangle flag currently right at the START of your audio loop) all the way to the right so it starts right where it currently ends. That'll do the job.

  • Yeah but that'll just loop the tail won't it? I thought they wanted all the audio up to that point then to have the tail loop? Or have I misunderstood.

    Not sure what DAW that is. If were in Logic, I'd suggest using the marqee tool to highlight the bit of that note you want to loop, then click in the highlighted section and it'll create a new region. You should then be able to hover on the top right edge of that region and the auto loop thing will pop up and you can just click and drag it out for as long as you want to loop it for.

  • In analogue news, I've been offered a piano for freebies. Went to look at it yesterday and it looks and sounds like a beauty. The previous owners were both professional classical musicians so I assume it's pretty fucking decent.

    The current custodians just want it gone so they're even paying for the piano movers to get it it. (it's 2 doors away).

    Can't wait to get my hands on it.

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We are the music makers - producers?

Posted by Avatar for mattty @mattty

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