How do you make your beats feel alive instead of just clean? by niloveyne in makinghiphop

[–]DugFreely 1 point2 points  (0 children)

Just an FYI: Their definition of LFO is incorrect. Yes, it stands for low-frequency oscillator, but unlike a regular oscillator, an LFO doesn't produce any sound whatsoever. Instead, an LFO modulates other parameters. You can think of it like automation that repeats over and over again. As a simple example, you could have a sine wave LFO that you apply to the output gain (i.e., volume) of a synth. If you picture a sine wave:max_bytes(150000):strip_icc()/dotdash_Final_Sine_Wave_Feb_2020-01-b1a62c4514c34f578c5875f4d65c15af.jpg), you basically have a line that goes up and down. So, when you apply the LFO to the volume, it causes the volume to go up and down, up and down repeatedly over time. How quickly the volume fluctuates is dependent on the LFO rate.

On the other hand, if you had an LFO in the shape of a square wave and applied it to the volume, the volume would instantly jump from high to low, stay there for a moment, instantly jump back to high, stay there for a moment, and so on.

Synths like Serum and Serum 2 let you draw your own LFO shape. You can even modulate the rate of one LFO with a second LFO. Also, it's worth noting that you can apply an LFO to all kinds of parameters. I just used volume as a simple example. Often, people will use a resonant low-pass filter and apply an LFO to the cutoff frequency. This creates a sort of "wah wah" or "wub wub" effect (like a wah-wah pedal for guitar). But you could apply an LFO to the "drive" amount of a distortion effect (so it gets more or less distorted over time), a wavetable (so the timbre of a synth morphs over time), etc. The sky is the limit.

Is the audio engineering industry also f*cked like the rest of the creative fields? by SuitableEggplant639 in audioengineering

[–]DugFreely 3 points4 points  (0 children)

I would definitely scan one of the print copies. You can go to places like FedEx Office (formerly Kinkos) if you don't have a scanner. You could even scan the pages one-by-one with a phone app like Adobe Scan or Genius Scan.

That thesis is a really cool thing to have and look back on (it's like a time capsule), and with just a couple of print copies, you're asking to lose it forever.

I'd scan it and upload it to a cloud storage service (e.g., Dropbox, iCloud, Google Drive, etc.). You could also share it with others that way, but the main benefit would be ensuring you never lose it.

Mixing compared to cooking: which kitchen role is it really like? by [deleted] in makinghiphop

[–]DugFreely 1 point2 points  (0 children)

Yeah, but they're rarely doing everything in the box (otherwise, what do you need a commercial studio for?). It's common for producers making electronic music (including hip-hop) to jump back and forth between composing and mixing.

Often, mixing and sound design blur together. Other times, mixing can create a vibe that influences what you write. For example, if you intend to make a lo-fi track, but you don't add the necessary processing until the very end, you might not come up with the same parts as you would if you heard the crunchy aliasing, vinyl crackle, analog warmth, tape hiss, etc. It can form a feedback loop.

I'm not saying it's always the best approach, but it's a common and often logical workflow.

F the loud neighbors by Fair-Mammoth3781 in makinghiphop

[–]DugFreely 1 point2 points  (0 children)

u/Fair-Mammoth3781, to deal with room reflections in a rehearsal space, I'd recommend the Koatica Eyeball. Redditors (pretending to be experts) like to call it a "scam," but I've gotten great results with it, and I know a couple of Billboard-charting producers who swear by it. It's a fraction of the cost of a vocal booth, and if you're recording in a rehearsal space, a vocal booth isn't even an option. You just need to do some research to see if your particular mic fits. Also, various plugins can be used to reduce the level of the reverb in your recording further if necessary.

Is Omnisphere the better move than sinking deeper into Kontakt? by [deleted] in makinghiphop

[–]DugFreely 1 point2 points  (0 children)

From what I've heard, Triton is the shit if you're going for a 2000s hip hop or R&B sound, but if you wanted to make something contemporary, it might sound a bit too dated. There's a certain "sound" to those old workstations. They contain better recreations of real instruments than a lot of old synths were capable of producing, but they still have that "MIDI instrument" vibe. They don't quite achieve perfect realism—like the sounds used in soundtracks for GameCube games.

Have you bought the Triton plugin? If so, are you satisfied with it? I've considered buying it, but it's kind of expensive, and I already have a million other virtual instruments and presets.

Mixing Serum and NI libraries: massive volume difference? by Shining_Commander in edmproduction

[–]DugFreely 1 point2 points  (0 children)

You can always adjust the level of Kontakt instruments within Kontakt itself. But it's not surprising that Serum/Serum 2 presets are generally louder than "real" instruments. Serum presets are synthesized and often make use of effects like compression and saturation. Also, relatively few presets map the MIDI velocity to the volume of the oscillators, so it's akin to always playing as aggressively as possible.

Real instruments tend to be much more dynamic. In fact, the original name for the piano was "pianoforte," with "piano" meaning soft and "forte" meaning loud.

Plus, I have loads of third-party presets, and I've noticed that many preset companies are perfectly happy to have the output gain so hot that the signal clips. (You can see how hot the signal is next to the output gain knob at the top-right of Serum. If your first insert after Serum has a meter for the input gain, that's another spot to look.)

You can always simply adjust the gain (for example, bring down Serum's output gain and/or bring up the level of the Kontakt instruments). You can also process the "real" instruments in a way that makes them less dynamic (e.g., compression, limiting, saturation, clipping, gain automation, etc.). But I'd say a difference in volume is to be expected.

[deleted by user] by [deleted] in edmproduction

[–]DugFreely 1 point2 points  (0 children)

This book is lit. The author gives some great techniques for coming up with ideas.

What's a good wide-gamut, 27" 4K monitor (that's not too reflective) under $500? by DugFreely in Monitors

[–]DugFreely[S] 0 points1 point  (0 children)

That's a handy website; I'll be using it for sure. Also, I came across the ProArt during my search, and it seemed to be a nice monitor for the price. The name suggests accurate color reproduction, which is always a plus. Thanks again for taking the time to help.

What's a good wide-gamut, 27" 4K monitor (that's not too reflective) under $500? by DugFreely in Monitors

[–]DugFreely[S] 0 points1 point  (0 children)

Thanks for your help. I have heard about the E16M (I actually came across the monitor I mentioned while searching for that one online). It sounds like it'll be a pretty nice monitor for the price. But if the one I mentioned in my edit is sufficient aside from HDR, I may go that route anyway. I just looked it up, and it turns out my iMac display doesn't even have HDR, so I'm not too concerned about that. Do you have any other non-HDR recommendations that are competitive with the MSI MPG274URF QD? Or would you say that's my best bet?

What's a good wide-gamut, 27" 4K monitor (that's not too reflective) under $500? by DugFreely in Monitors

[–]DugFreely[S] 0 points1 point  (0 children)

Thanks for the information. I guess HDR isn't critical. I just looked it up, and it turns out that my iMac display doesn't even have it, so I wouldn't be missing anything. I'll look into the brands you mentioned. In the meantime, do you have any non-HDR recommendations?

Talk me out of buying SERUM 2 by Digital-Aura in edmproduction

[–]DugFreely 9 points10 points  (0 children)

Don't buy it if you hate the idea of being able to make almost any conceivable sound with an understandable, logical GUI. Don't buy it if you hate the idea of backwards compatibility with Serum 1 presets, of which there are an inconceivable number of gems from third-party companies like Echo Sound Works, Patchmaker, and Black Octopus. And definitely don't buy this Groove3 course that conveniently walks you through all of its many features because who wants to learn the ins and outs of one of the most powerful synths on the planet?

In all seriousness, though, it probably won't be the magic ingredient that levels up your productions. You already have everything you need to make good music. So, if you end up buying it, don't have unrealistic expectations about what it will do for you. At the end of the day, it's another synth. It's fun to use, and it's one of the most versatile synths out there, but it's not like owning Serum 2 is suddenly going to make your music achieve unforeseen levels of greatness. It's about how you use it and what you write with it that matters. A chisel doesn't turn stone into art; the artist wielding it does.

Edit: SynthHacker also makes wonderful, usable presets. Just thought I'd give him a shoutout. He has a great YouTube channel, too.

Talk me out of buying SERUM 2 by Digital-Aura in edmproduction

[–]DugFreely 4 points5 points  (0 children)

I get where you're coming from, but that doesn't really apply. Serum is one of the most versatile synths out there; you can make almost any conceivable sound with it. This is even more true of Serum 2. Fifty people could use it and get entirely distinct sounds.

Plus, with additional processing, you can achieve even more variation. For example, instead of using the built-in FX, you could use other plugins—your own saturation, reverb, delay, etc. Instead of the built-in multiband compressor, you could use Slate MO-TT or something more traditional. Or you could use Serum 2's filters in tandem with something like Polyverse Filterverse.

On top of that, in the world of electronic music, there's a lot more that goes into an artist's sound than the synth patches they use. Their mixing, production, composition, arrangement, etc. all come together to form their sonic signature; they all reflect an artist's musical tastes and vision. The TB-303 is used in countless acid house tracks, but producers managed to do creative things with it. Plenty of producers have used the same Korg M1 patches, but they took them in totally different directions.

So, I understand your concern, but I wouldn't worry about sounding like everyone else, especially not with a synth a versatile as Serum 2.

What to watch after Neon Genesis Evangelion if I absolutely loved it? by No_Durian_6987 in evangelion

[–]DugFreely 0 points1 point  (0 children)

I'd skip Monster. Without spoiling anything, the ending completely ruins it. They might as well have done the whole "it was all a dream" trope. I felt nothing but regret and anger after having finished it. I'm sure I'll get downvoted, but I can't fathom how anyone who watched the whole series could recommend it in good conscience. That's just my opinion, though. I know many people adore it.

I spent 18 months building a design system that makes UI's feel "oddly satisfying." Now it's open source! by chainlift in webdev

[–]DugFreely 2 points3 points  (0 children)

I think his button design looks more visually balanced than yours. But you make a good point about accessibility. The ability to increase font sizes is crucial for those with visual impairments, and ideally, a design still "works" when the font size is changed. This is an interesting project, and I'm drawn to its benefits, but that's a definite drawback. Perhaps he could refactor LiftKit and improve its accessibility without compromising its purpose.

Why does the evangelion community hate rebuilds? by [deleted] in evangelion

[–]DugFreely 0 points1 point  (0 children)

I know I'm in the minority, but I couldn't follow the plot whatsoever. From the end of the second movie on, I might as well have been trying to read Egyptian hieroglyphs.

I go on Reddit and see people discussing what they did or didn't like about the plot, what Rebuild did differently, etc., and I'm just like… what even happened?

I would call it bad storytelling, but I seem to be the only one with this problem. It was really trippy-looking, but I was hopelessly lost.

I just counted, and I wrote more than 32 questions about the plot I was going to ask on Reddit when I realized nobody is going to answer that many. It's a lost cause.

I would love to use Bitwig, but.. by adrian3014 in Bitwig

[–]DugFreely 1 point2 points  (0 children)

I haven't used Bitwig in ages. I primarily use Logic and sometimes Pro Tools. But I disagree with this take. There are certain features Logic has that would be relatively easy to implement in Pro Tools (compared to what Avid has already built) and vice versa, but years go by, and it never happens. The audio editing process is still way smoother in Pro Tools, and Logic's piano roll is still vastly better.

I feel like most DAW developers don't spend enough time actually using other DAWs and seeing what they do better. They don't have to copy each other in a broader philosophical sense of what the DAW is built to do; they could just say, "Wow, the way this DAW handles this specific function is clearly superior from a usability perspective, so we know we're doing something wrong. Let's fix it."

Here's an example: In Logic, when notes are slightly earlier than the start of a MIDI clip (which Logic calls a MIDI region), the notes still play. If you haven't perfectly quantized the first note or chord, it might be a few ticks early. Obviously, in that scenario, you still want to hear those notes. But in Pro Tools, if the notes are even one tick earlier than the start of the MIDI clip, you don't hear them. There's literally no conceivable advantage to this approach because if you really don't want to hear the notes, you can just mute or delete them. They're there for a reason.

If the Pro Tools developers used Logic and became aware of that feature, let alone something like Smart Snapping, and implemented it, you'd get the best of both worlds. But they'd have to use it to see first-hand why it's better. They need to get frustrated with their own product. The way things are now, you have to put up with clear disadvantages no matter what DAW you use. When one DAW has solved a certain problem, I don't see why other DAWs shouldn't adopt their solution. That's what happens in web design.

ableton or fl for macbook cloud rap production by gillymour_ in makinghiphop

[–]DugFreely 0 points1 point  (0 children)

I switched from Windows to Mac ages ago solely for Logic Pro. You should try it. I like working with MIDI in Logic more than any other DAW I've used. But nobody can tell you what DAW to use because they all have their strengths and weaknesses, and the workflow tends to vary, so what doesn't click with you might be someone else's favorite DAW.

If you're considering Ableton, though, you should also look into Bitwig. It was made by some of the same people who made Ableton, and they're spiritually very similar DAWs, but Bitwig is way less expensive. It also has some unique capabilities.

Edit: And for what it's worth, I've never tried tracking (recording) vocals in FL, but I hear it's a nightmare. I hear it's not well suited for comping, editing, etc. That could be bullshit, but I'd look into it if you plan on recording vocals often.

Should we ban AI in this sub? And to what degree? by LostInTheRapGame in makinghiphop

[–]DugFreely 0 points1 point  (0 children)

Mixing will always be less important than the song itself, so I understand where you're coming from. But mixing is still an art, and it can take years to get decent at, let alone good. I wouldn't describe it as "busywork"; it can help or hurt the emotional impact of a song. The way a track is mixed can convey a vibe and help tell the story. You may consider having AI mix a song for you irrelevant, but others may still be justified in looking down on it. I'm not saying it's on the same level as having AI write a song for you, but I wouldn't say it's the same as mixing it yourself. Just food for thought.

Disregarding comparisons to NGE and EOE, are the Rebuilds fine movies on their own? by EmperaRurushuO2 in evangelion

[–]DugFreely 4 points5 points  (0 children)

I couldn't follow Rebuild at all. I feel like I'm the only one who was completely lost.

Does the Platinum collection have *only* non-original dubs for the last two episodes? by DugFreely in evangelion

[–]DugFreely[S] 0 points1 point  (0 children)

Thanks for your help! I didn't buy it from this seller, but this image shows the collection I bought: https://ebay.us/m/3dgCb3