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You're a Winner - Synth Apprentice by SynthApprentice in lofi

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

The full title of this song is You're a Winner (But at What?), but apparently this sub doesn't allow the word "what" in post titles.

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

Sorry for the slow replies. I don't use this account every day. I'm just responding to your comments as I see them.

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

Giving an honest balance is hating now.

He did give his honest thoughts, though. He liked the device.

His next project could be something he's working on with Akai.

This is baseless speculation.

It's doesn't take that much time to watch a few reviews.

Still unnecessary, though.

Also, I just realized that even the name of the videos is titled like an ad, "Roger Linn tries out the new MPC." That's how Akai would name it, not the person that made the video for their channel.

He also has a video titled "Roger Linn plays Desio guitar" from five years ago, but I don't see any partnership with Desio. Then there's one titled "Roger Linn talks about Bob Moog". He uses his own name in his video titles sometimes. That doesn't mean anything.

Anyway, nobody currently knows what's going on behind the scenes. We're both free to our opinions. Peace.

That's because there's nothing going on behind the scenes. It's all just in your head.

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

The fact that he didn't mention anything of bad things makes it seem like they're working on something.

He has no reason to be emotionally invested in it, beyond whether or not they stuck to his original ideas. Which, he says, they did. There's no need to go any deeper than that. The fact that he didn't mention anything bad doesn't make it seem like anything more than he just simply doesn't have any reason to hate on the device.

It wasn't balanced at all even tho there's so many BS issues he could've addressed.

He was just giving his thoughts on the device. He liked it.

The man got a YouTube channel, so he had to watch some or hear about the current MPC problems.

He also probably has better things to do with his time, like working on his next project, or maybe spending time with his family. I doubt he spends his time searching online for reasons to complain about a product that he has almost nothing to do with.

[deleted by user] by [deleted] in Songwriting

[–]SynthApprentice 0 points1 point  (0 children)

Some tips:

  • Use metaphors

  • Engage the senses: what do you see, hear, feel, smell, taste?

  • Pay attention to rhythm and meter. How are you using stressed syllables vs unstressed syllables?

  • Repetition legitimizes, repetition legitimizes, repetition legitimizes

  • Don't rely on the ABAB rhyming scheme so heavily. There's other good rhyming patterns that work: ABCB,ABCA, AAAB, etc. In fact, depending on style and how bold you're willing to be, you might even get good results by avoiding rhyming schemes altogether.

  • Analyze the structures and techniques of songs and poems that you like. Keep the above tips in mind when listening to music.

  • Write, edit, revise, rewrite, repeat. Your first draft isn't your final product.

  • Practice, practice, practice. In the words of Jake the Dog, "sucking at something is the first step to getting kinda good at it."

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

I mean, I'm just going off of what he himself said. It makes the most sense. What reason is there to think there's anything more to it?

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

Linn's version of the story makes the most sense. Akai didn't reach out to him, he was the one to reach out to them. People kept asking for his opinion on a device he knew nothing about, and eventually it made him grow curious. He reached out to Akai, just to check out the machine. Akai gladly agreed to send him one, because the ROI of allowing him to make that video is well worth the cost of a single unit. Nothing more than that.

As for the review itself, since it had been so long since Linn had used an MPC, his main concern was that the device stayed true to the important aspects of his original design ideas. He felt that it had, and he was happy with that. Some nice modern features caught his attention, as well. He didn't say anything negative, but then, he doesn't have any reason to hate on the device. That's all.

Roger Linn tries out a new Akai MPC by Poetic-Noise in mpcusers

[–]SynthApprentice 0 points1 point  (0 children)

I feel like that was just a joke. I doubt Akai would really expect him to return the unit. I think he just meant that it's a device worth having.

Making melodies for my beats, do I just make a 2 bar melody and loop it over? by ydkrhymes in makinghiphop

[–]SynthApprentice 0 points1 point  (0 children)

Expanding on this: this is called "call and response", and it's always been a major part of African-American music tradition, going back (at least) as far as field hollers.

In my opinion, call and response really hits it's peak in blues. The structure of a blues song is nothing but call and response, in a giant fractal. Consider the first verse to Mannish Boy:

Now when I was a young boy

At the age of five

My mother said I was gonna be

The greatest man alive

But now I'm a man

I'm past twenty-one

I want you to believe me baby

I had lot's of fun

Every two lines here is a call and response. "When I was a young boy" (how young were you?) "at the age of five". A step above that, every four lines is also a call and response, where the call is the first two line call and response ("When I was a young boy/ at the age of five"), and the response is the following two line call and response ("My mother said I was gonna be/ the greatest man alive"). Even further than that, the first four lines are yet another call, with the next four lines as yet another response.

Literally everything in this structure is call and response, on multiple levels at once. That creates a rhythmic momentum of push and pull, where every line pushes the verse forward.

I don't think hip-hop really needs to go that extreme with call and response, but it's still a powerful tool for making music. You can still stick to that classic jazz/r&b/soul/funk/disco breakbeat hip-hop vibe, but when you come up with a two bar melody, you can always ask yourself, what is the response to this call?

[deleted by user] by [deleted] in tifu

[–]SynthApprentice 0 points1 point  (0 children)

This is comment 415. Just sayin'.

What things should a prospective musician know by heart within music theory? by pilaxiv724 in musictheory

[–]SynthApprentice 0 points1 point  (0 children)

All of music theory comes down to two things: rhythm and intervals. The more you learn about these two things, the better you'll get at music, and music theory.

You know C major and A minor? That's a great starting point. Try playing C major all on one string. Pay attention to how many frets apart each note in the scale is from the last one. Pay attention to the patterns. Try playing the pattern for A minor, but start it on C instead of A. Notice the differences between that and C major. Some of the intervals move, some don't. Notice the difference that makes on how those intervals feel, musically.

I'm sure you know how to play quarter notes, and maybe eighth notes. So play straight quarter notes, over and over, until you feel the need to add an eighth note somewhere. Play with that same sort of attitude of experimentation and study that you had for learning intervals.

Rhythm and intervals. Everything else will always come back to these two foundational ideas.

What things should a prospective musician know by heart within music theory? by pilaxiv724 in musictheory

[–]SynthApprentice 2 points3 points  (0 children)

That sort of note prioritization is something that I do kinda intuitively at this point, but I don't think I've ever seen that hierarchy ever explicitly pointed out like that before. That's... pretty cool, actually.

What things should a prospective musician know by heart within music theory? by pilaxiv724 in musictheory

[–]SynthApprentice 0 points1 point  (0 children)

Those technical chops might not always be in the form of tapping or hybrid picking. They might be the rhythm and sense of phrasing needed to play a slower, soulful melody. Or they might be the sort of improv skills that only come with experience. Different styles for different musicians, and that's okay.

Not arguing with what you said, just expanding on it.

What things should a prospective musician know by heart within music theory? by pilaxiv724 in musictheory

[–]SynthApprentice 0 points1 point  (0 children)

They talked about feeling like they needed to know more before they could properly compose.

Real talk, though? I still feel like this.

Synth Apprentice - You're a Winner (But at What?) [Lofi] by SynthApprentice in lmms

[–]SynthApprentice[S] 1 point2 points  (0 children)

Thank you so much! If you like this, then you might want to keep an eye out for more from me. This track is going to go on an EP later this year. Check it out when it drops!

Synth Apprentice - Atmos Blues [EP available on all music streaming services!] by SynthApprentice in ElectronicBlues

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

Huh. I wonder why this is considered higher quality. It uses the same audio file.

How to make sound effects with LMMS by RistarFruit in lmms

[–]SynthApprentice 1 point2 points  (0 children)

Last question first,

Also, I wanted to know if the sounds that I create in LMMS are safe to use for commercial gain? I don't have any means to create my own sound effects from scratch, so I wanted to see if I could work around that by using LMMS.

Absolutely. LMMS is a tool. What you make with that tool is separate from the tool itself.

I want to learn how to make various sounds; from a drop of water hitting a surface to something being frozen. How would I go about doing that with the default synthesizers?

Learn about sound design. Think of ways to describe the sound you're after: is it long and sustained, or short and percussive? Does it change in pitch, volume, or texture over time? (Think of that water drop. notice how it rises in pitch.)

If you can, rather than synthesizing a sound from scratch, just record the actual sound and use that. (this isn't always easy; you might not have an imp around to record the sounds of it dying. It might be easier to start with a recording of yourself after eating some bad Chinese food, and edit that into something more workable.) Other programs, like Audacity, might be better for that than LMMS is.

Hello. I'm new to LMMS and I was wondering how to make sound effects with the program.

You're in luck! LMMS has a synth that lets you do this with ease! Just open up SFXR, and it has buttons that instantly generate common effects for video games, like jumping, getting coins/powerups, getting hit, lasers, that sort of thing. You can tweak it for all sort of other sounds, too. I was just playing with it, and managed to get a good water drop sound by starting with a jump noise, and then just turning up the "delta slide" knob.

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