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PostPosted: Fri Feb 05, 2016 4:03 am 
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Joined: Wed Feb 03, 2016 8:11 am
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Dear minimal lovers,

I'm all new to this forum and I learned a few things from you guys
I produce for about one and half years. i never finished a track, because I was never satisfied with the project I was working on. it was never good enough!

Now I have a better feeling about what I've made a few days ago!
So I wondered if anyone would want to listen to it and say what he thinks!

Thanks!

https://soundcloud.com/josiboy1/jos-lok-noctambulation


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PostPosted: Fri Feb 05, 2016 8:01 pm 
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mnml admn
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Location: detroit metro : walk the -e[art]h-
lovely...groovey & melodic. honestly perhaps one of the best track's I've heard posted in this section in some time. nice! not sure (if) you used samples as there are free cd's ect to just gimmick your way thorough..but from a quick listen : it most certainly doesn't sound like it and it feels very delightful an organic..I'd be interested to hear more... thank you for sharing.. your "specific" title provoked specific results....

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PostPosted: Sat Feb 06, 2016 12:28 pm 
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Thank you very much for your feedback John!

I can not say that all sounds come from an analog synth.
the drone is made with a Sampler (ableton) with a lot of effects like, Freq changer, phaser, chorus, flanger, delays, reverb, and a lot of automation! What I have done with a lot of sounds after processing it with my effects, I have rendered and reversed again, did some EQ, that kinda stuff. also glitchy bass is made with the Sampler (off-beat option) recording it and etc .. etc .. I can say at least that that i didnt use any already-made loops. i did used hi-hat samples, but I do not know how else an off-beat hi-hat is made. to mention it again, i did not used any fx loops or samples.
I hope that's what you meant!

Good weekend to you to ;)


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PostPosted: Sat Feb 06, 2016 2:16 pm 
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JosLok wrote:
I do not know how else an off-beat hi-hat is made.

this shuffle feature is nearly useless in ableton 8...
I found it didn't help much no matter what I did.



they apparently adjusted it in earlier versions 4-5 perhaps but it's back as a basic feature in ableton 9 with the push controller.. not worth the $500 upgrade to get basic features and a soundless midi controller. what a farce. I will don't plan to ever buy another abelton product...

love it for live sets but can't stand it for production any longer...

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PostPosted: Sun Feb 07, 2016 11:47 am 
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Really nice track JosLok! I'm trying to create this sort of sound too, getting there slowly but surely but its always inspirational to hear other people who are at a similar stage to myself creating good music. Good effort bro!


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PostPosted: Mon Feb 08, 2016 5:58 am 
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mnml maxi
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Joined: Fri Apr 11, 2008 1:01 pm
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Location: Worcestershire
Cool track there. It's hard to give feedback though as I am not sure what your intentions were, so for all I know, you could have achieved exactly what you set out to do with the track.

A couple of perspectives though, there is no bass on portable desktop type speakers, I had to switch in my monitors to get the bass, this happens on a lot of tracks I hear, which is fine if you are aware of that and know the bass will sound good over large speakers but if you don't know that listeners on some domestic speakers may hear no bass at all, it's obviously a concern.

Anyway, the groove is there and the background chord type sound gives it warmth, vocal adds nice texture and there's interesting rhythmic textures, sometimes it's cool to get as much musical material in before going to town on editing and sound design, then go through the sounds/riffs/phrases you made, see which ones work best, and be brutal and delete the rest, once the whole framework is there, I think you are good to go with resampling and efx and stuff.

Having said that, sometimes the resampling itself actually leads to the groove and musical elements too, so kudos to you for the experimenting. Yeah, good stuff, I like this.

( Here's a question: When you have these long efx chains, reversing, resampling etc, have you any clue as to where you are going or do you just see what comes about? With me it's the latter, I have no clue as to what 'X' 'Y' 'Z' efx chain in going to do, no idea of what I'm looking for or anything until all of a suddent something is there. I'll often record myself going a bit mental with tweaking for like 10 mins, then go back through and might find just a single hit or a tiny sequence that I chop out and use, deleting the rest but it is a good way to get unique stuff ) 8)

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PostPosted: Mon Feb 08, 2016 3:18 pm 
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Thanks Keepitwill and AK.

What can I do on the bass? give it some saturation?
I find it very difficult to mix down the bass ..
What I normally do is Eq and compression, give it a small boost at 36 Hz.

When I resample I really do not know what comes out, but that makes it fun
I also cut out pieces that I
finally put back in a different order.


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PostPosted: Mon Feb 08, 2016 6:43 pm 
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JosLok wrote:
Thanks Keepitwill and AK.

What can I do on the bass? give it some saturation?
I find it very difficult to mix down the bass ..
What I normally do is Eq and compression, give it a small boost at 36 Hz.

.


Mate, everybody does. Bass and low end is always difficult, there's nothing wrong with yours, I was saying what I noticed in case you were unaware. There's lots of tracks out there where the bass only becomes more apparent when the track is played over speakers with a low frequency extention, it's nothing to get too concerned about though, you'd definitely hear it in a club, on headphones from say an iPod, in ear headphones on a mobile, just probably not too much on your average desktop speakers which may cut off at about 80/90hz but like I say, there's literally tons of tracks out there that are also in this position.,so just the fact you are aware is the main thing.

In regard to this, there's also a lot of ways and *tricks* people employ to give a sense of bass further up the spectrum without actually totally redesigning the sound itself. A good example is something like Waves RBass, where I believe it creates psychoacoustics which enhance user defined frequencies. So you say bring up bass that wasnt there before at 100hz upwards.

Another trick is to track the bassline with a higher octave version of itself or something similar and whilst this isnt meant to ruin the original patch or affect it, it can give a listener the sense of bass by defining certain notes - and often that may be enough.

Other considerations when making patches are the actual initial waveform itself. Some people assume making low subby bass is about using sinewaves and it isn't. The might ADD sinewaves underneath or as part of the patch but often, people know that there's little information above the fundamental frequency so whilst you are gonna hear a smooth rounded sub on your 38hz monitors, you are gonna hear prety much nothing through something else. But by using things like square waves, saw waves, pulse waves and other waveforms rich in harmonics, you have a full spectrum of information to begin with and couple that with a steep low pass filter and you have a bass sound which contains information in the upper bass registers that still carries sub weight and pops through on smaller speakers ( obviously where your low pass filter cut off point lies will dictate where you want it focussed more too )

These are some things anyway and like I say, there's nothing wrong anywhere, just thought it was worth a mention.

Check out some of your favourite tracks on speakers that dont go too low, you'll find some tracks will seem like the bass has disappeared, you'll find some tracks still have enough information for you to sense the bass and others you will still be able to hear it clearly. Then, think about your target audience, where they might hear your music and what you would like it to sound like over the various possibilites and just be aware of it. :)

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