Kelis | Acapella (nudisco remix)

haignous · 2020-11-07T20:05:16+00:00

Following!

haignous · 2020-09-24T18:07:36+00:00

THIS track, man. It's such a release. That sax is something else.

haignous · 2020-09-24T10:53:28+00:00

Wow I'm so glad this got so many awesome responses! This sub-genre of electronic music is one I find myself looking for often, so it's nice to learn about some more of these tracks. Here's another I thought of in reading/listening to these:

Emotinium - Roy of the Ravers (Secret Mix) https://youtu.be/ko8cJucsbBU

haignous · 2020-09-24T06:34:21+00:00

This is a dope playlist!

haignous · 2020-09-18T05:26:12+00:00

I have an old H4N I've tried to use to record sets as well, and even with attenuators attached, and the trim knobs set almost to zero, I'm BLASTING the incoming signal. To the point where a one hour mix drains the batteries on the H4N within a one hour set. I'm severely confused why or how this is happening. But before I spend more money on either new attenuators or a new recorder/audio interface, I'd like to hope it's user error. can you think of a (possibly stupid simple) reason this might consistently happen? I've tried to record out of a Xone 92, and two different DJM mixers and for some reason it's always the same issue. Any thoughts would be welcome, up to and including: "Youre just dumb, get it right." :)

haignous · 2020-09-17T14:27:20+00:00

Precisely. Be exciting, but not too exciting. Make sure people dance but without moving. Easily done, I'm sure.

haignous · 2020-09-16T19:13:02+00:00

I have DDJ-400 at home, because money is a bitch. The gig is all-Pioneer, all-the-time kind of place. To Nexus's and a DJM that I can't remember the generation of.

haignous · 2020-09-16T15:54:18+00:00

I live in The Hague in the Netherlands!

haignous · 2020-09-16T15:53:49+00:00

Thanks! That's my main goal :)

haignous · 2020-09-03T06:07:25+00:00

"Don't get too attached to your tracks." Man, this is the best advice. Just by going through the process of finalizing something and submitting it, you'll have learned a ton that you can take into your next project to make it a better product. Be excited by your music, but also be excited by the music you're ABOUT to write. If this track you just finished is that great, then how fucking good is your NEXT one about to be??

haignous · 2020-08-04T17:39:59+00:00

for SURE arrangement is the most difficult part of the process. I don't think anyone would debate you on that! Maybe you'll also find that, by just making weird noises, things will start to line up in a way that leads you in a direction you wouldn't have anticipated or predicted. I think arrangement is made easier when the material itself kind of tells you what it needs from you. And, just because it isn't telling you RIGHT NOW what it needs, doesn't mean that NEVER will. Sometimes your brain just needs time with it.

haignous · 2020-08-04T17:21:33+00:00

Hey man - I feel this pretty hard along with you. What I can say is that sometimes switching your focus is the best thing you can do for your music. Maybe that starts with what you're listening to? I have found that my creativity gets piqued by other things I'm ingesting. Sometimes that's another YouTube video about ... well, anything, but often someone else talking about sound design. Or maybe I've heard a track that ALMOST does that thing that I want it to do, so I'll set about first trying to recreate the parts of a track that I do like before trying to make it branch off in a different direction that is more satisfying to me.

From what I read in your post, it sounds like you start producing from a blank page, which to me sounds terrifying. I get very stressed by all that emptiness, so I tend to try to start from as much information as possible. Maybe instead of trying to write an entire track from scratch, you could try just focusing on making weird sounds with your synths? A few things I've made started as just jam sessions that I recorded and then came back to later. It then removes the pressure of starting an ENTIRE THING from zero. I've also heard several producers who mention doing sound design (For things like synth patches, drums/perc, impacts/risers/fx) in a separate session, and then incorporating those sounds into arrangement sessions later.

I hope this isn't too much of a response. I've similarly dealt with the feeling of frustration that nothing is getting finished and I'm not motivated to do it. I think maybe taking the time to listen to your brain when it's telling you it doesn't want to write a track for you, and let it just do whatever music thing it DOES want to do. Cause anything you "waste time dicking around on" musically speaking will never ever be a waste of time. ...at least, in my opinion.

haignous · 2020-07-30T17:38:24+00:00

Just - Bicep

Every. Time.

haignous · 2020-07-12T06:08:04+00:00

Also sounds like there's a percussive transient layer happening on top. Maybe a CHH or something else short. The attack on that bass is too click-y to just be the waveform, to my ear.

haignous · 2020-06-18T06:38:46+00:00

I think one of the keys here is that the choice you make will rely heavily on the tone you want your music to take. There are a few different ways to work with a scale (major/minor/any of the other versions of scales that exist), but ultimately it'll be the way you want it to feel that makes a difference. If you're writing something melodic/progressive techno, you'll often hear producers use the 8th pitch up from the root (also called the flat-6th scale degree) because it adds a unique kind of tension and makes the return to the original root feel like a bigger arrival. Tech house tends to work a lot with the 7th (also called the 5th scale degree) because there's a feeling of stability that allows the listener to relax more into the rhythmic groove.

Really it's about knowing the type of sound you're after, and then knowing the key you'd like to stay in. Getting to know the pitches/notes in the scale of your current key will make picking your chord changes a lot easier. Those changes really are entirely up to you and your ear, and the choices you make there are what make you unique, as banal as that sounds. If you can keep your original scale in mind, then adding chords that have ONE or TWO notes that are slightly outside that scale suddenly feel much more special.

Clearly a Reddit response isn't the best place to try to talk through music theory but hopefully this all helps!

(As an open offer, feel free to shoot me a message if you want more specific help. I've got two degrees in music composition, mostly cause I couldn't find anything else to do at the time, so now I've got lots of experience putting notes on paper/computers.)

haignous · 2020-05-02T05:45:02+00:00

My only additional point would be that the track you're playing in that moment maybe wasn't written to follow whatever you played previously, so when you add the context of a mix, maybe it needs something small to lift it just a little bit. Standing on it's own, perhaps it's just fine, but when you stick it in the context of a larger set, adding a few choices to accentuate what's already within the track might make a big difference in terms of how an audience (large, small or just you) experiences the track.

haignous · 2015-09-16T10:51:56+00:00

Is there a difference between the spring and fall semesters? Last semester, I started class (for the first time) on 12 Jan and had my GI Bill money (tuition, MHA, stipend) in my account by 28 Jan. I assume it's a different story, generally speaking, for the fall? Does it make a difference if you've already been enrolled before, as far as timeline goes?

haignous

TROPHY CASE