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Oct 22, 04
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Dear Aspiring hard dance and dnb producers
Subtractive synthesis is a VERY good means of compositing a huge bass line. 
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Oct 22, 04
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So, uh, what about those of us who produce with the intention of performing our productions live in front of crowds? :)
See http://www.fnk.ca/board/showthread.php?t=62762 for a choon. Admittedly, I've really gotta get off my ass and finish some tunes. Tracks out on vinyl means more gigs, and IMHO, gigs are the whole point. Sitting at home all weekend working on patterns is no fun if it doesn't culminate in an explosion of sound in front of a packed dancefloor.
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Oct 22, 04
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Every last one of my basslines is done with the Waldorf Pulse. Mmmm, three VCO's.
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Nov 03, 04
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Production is definitely not as fun as it used to be, it seems every Tom, Dick and Harry has a P4 and a Reason 2 Crack. What I am saying is: seperate yourself from the crowd by exploring hardware options. A recent comment questions the amount of Bass that a softsynth delivers. My experience tells me that a hardware synth like a Waldorph, Roland, Korg, etc.. will deliver a much heavier Bass for your buck. As much as I like using the Subtractor and Malstrom in Reason, I find that they lack the rolling speaker pleasing bass that dance music demands. Very often I hear a song that has a tired-ass Bass line and I tune out, I just can't stand it. Producers ought to look at saving a few bucks and buying something analog, I mean look to the future, but don't forget the past. I recomend a Roland Juno 106 or a Novation BassStation or MC-202/SH-101 or Moog Minimoog. There are plenty of other synths that will do, but these are winners. As for myself, well, I spent a bit too much money on gear and studio time, but in the long run I'm happy and I never sold-out when it came to my Bass. For example: I had the studio guy turning my Bass down and I was very "direct, I said " I want it to sound like this OK, I want it loud almost clipping." He couldn't beleive it he was like looking at me all weird and was like, "all right then, almost clipping," as he shook his head. It just goes to show, you as a producer know what you want, know what is needed to be the best at what you do. I sacrificed and it paid off for me, I have something I'm really proud of and I hope the same goes for you.
Last edited by P.A.R.T.Y; Nov 03, 04 at 04:56 AM.
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Nov 03, 04
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The scene's obsession with vinyl and such is the only thing that makes DJing at all difficult to learn. It's harder to beatmatch two records while they play than it'd be to do it on a computer. Anyone who thinks otherwise should really check out a little program called Mixmeister. It makes beatmatching as mind-numbingly easy as it should be, generally. The real skill comes with track selection and knowledge of the tracks being played.
It is much, much more respectable, enjoyable, and (dare I say) beneficial to society to produce than to DJ, unless you're in it for the rave hoes. Like people said, though, it's possible to do both. If you go down the path of true digital wizardry, production and djing start to blend together in weird, obscure, and fun ways. Listen to Kid 606 for examples of just how that works (especially his "The Action Packed Mentallist Brings You The Fucking Jams" CD... oooh....). Likewise, I've heard many good things about BT's "Laptop Symphony" performances. Edit: meh... old dead thread... Last edited by Canar; Nov 03, 04 at 10:13 AM.
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Nov 03, 04
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Nov 03, 04
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Nov 04, 04
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You definitely don't need an analog synth to create a good bassline. Using a piece of shit VST preset and slapping it in to a weak mix with a shitty kick will obviously yield crap results, but with a knowledge of mixing, compression and careful EQ'ing you can get good results with inexpensive software. On the flip side, if you have some monster bass sample you'll most likely have a hard time fitting it into your mix without a good amount of mixing knowledge as well.
The tools help, but ultimately all you need is some know-how and creativity to get good results.
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Nov 04, 04
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Opinions are like puddles or poodles, well whatever.
I'm going to have to disagree with the comments above. I have yet to hear a decent Bassline created using a softsynth that can honestly be compared to a Hardware analog synth. Since I've sold most of my analog gear, I am using softsynths like the V-Station, Pro-53 and Moog Modular. I've tweaked all of these synths to the maximum "quality" bass setting and I am somewhat, if not totally dissapointed. At one time, I owned a K-Station (which I sold immediatly after hearing the V-station), it is a total VA synth and therefore doesn't count. On the other hand, take the mighty Roland Jupiter-8, packed with 8 solid analog VCO's and a PWM/LFO, Ahhh...Just imagine what you could do with this synth, the stinglines and drones you could create, the throbbing basslines that would endlessly envelop your songs. *Poof* sorry, all you have to play with is Reason 2, the junglist and a pro-52 crack and guess what they suck ass. Now don't think I'm a hater, there are real legit reasons for using softsynths. You might use softsynths to lay down a bassline which you will later replace with a better bassline from a harware synth. You might use a stringline from one of these softsynths which you will later double under using a hardware synth. Finally, you may just be a hobbyist who wants instant gratification using the latest Kaaza crack. Regardless, your music may sound good to you and your friends, professionaly it won't measure up. Sometimes with the right analog samples and some VST's you'll make something worthy of vinyl, god knows I've bought a couple tracks only later re-creating the track on Reason 2 within 10 minutes. I won't be scammed again, now I am wise to the bullshit out there, in other words "don't come to me with some fuckin reason loop and expect me to swallow it as talent, I'm not that gullible." Now I never said I was a better writer than anyone promoting on FNK, but come on, some of the breaks I've downloaded are pretty fuckin weak. Get the hell on Ebay, stop smokin up your allowance, buy a decent synth and master that shit like aphex twin would. (-_-)Y
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Nov 04, 04
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i've heard tonnes of tracks by up and coming DNB producers, done all in software, that are very deep and pound on a system. some people are really good at using software synths like z3ta, have pro EQ'ing and compression skills, and CREATIVE imagination and know how to put some amazing stuff together.
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Nov 04, 04
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If you want to make it real big, you must focus all your time into producing. It's easier to make a name for yourself that way but it can also take a long time to produce some good tracks that will get signed(unless your produce alot already)
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Nov 04, 04
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Heheheheh,
Well, nothing new in this thread. I've seen this stuff go by on maaaaany message boards - so, here's the answer. Just now, I've recorded a pair of synthesizers (a Waldorf Pulse Plus and a Roland SH-101) into Ableton Live, through my Mackie CR-1604 with the EQ's centered. I've also recorded the same pattern using the softsynths "Beast" and "FM7" (sorry, those are the only two softsynths on my drive, and they won't be there next week after I format again). Here's the .WAV file: http://mux.ca/temp/bass.wav. (24bit, 48khz WAV) IMHO, the only real difference between hardware and software these days is interface. What do you think? Oh - btw, those synths are NOT recorded in order!! Which two are analogue, and which two are digital? Remember, zero effects were used, zero mastering, and all four samples were recorded in my studio five minutes ago. I'll post the actual samples-to-synths order tomorrow. I'm serious though; I'm interested in hearing which ones you think are analogue vs. digital.
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Nov 04, 04
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Aphex Twin, last I heard, used software for just about everything.
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Nov 04, 04
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Apparently, he's on the verge of releasing a new album which uses 100% analogue, right down to the tape it was recorded on. Can't remember the name offhand, but it's coming up. Admittedly, he uses a *lot* of software - seen that cute face-in-the-spectrum thing he did with Soundhack for mac?
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Nov 04, 04
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Originally, it had a MIDI kit installed - recently, I decided to give it one more shot, and removed the MIDI kit. Presto, the synth works again! Kind of suck, but really the only thing the MIDI kit did was note-on, note-off and patch select anyway. Now, I've decided to restore the PolySix to its former glory, which means figuring out what's still wrong with the patch memory (it appears to work, but when I save a patch, it doesn't save properly), replacing a bunch of dodgy buttons and switches, and pulling apart and rebuilding the keyboard action. And to think, when I'm done pouring another 40h of work and prolly $200 worth of parts into this thing, I'll be left with a synth worth about $300! *sigh*. Guess I must really love these analogue synths. ;)
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Nov 04, 04
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Perhaps I should have phrased that better:
"The last I heard of Aphex Twin, he was working with mostly all software for his current projects." That would have been pre- '26 Mixes for Cash' though.
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Nov 05, 04
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Nov 05, 04
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Here goes: SH-101, Beast, Waldorph, FM-7.
I'm almost 100% certain that the first is the SH-101, the last sounds very FM-7. MUX, listened to your live performance, it is really good, I think you ought to record it track by track immediatly. Furthermore, I would change a couple things: 1. The cowbell that came in to soon needs to be on another 16th Bar or removed. 2. The "drop the needle sample could be filtered and tweaked, otherwise, WOW, that is a fucking awesome track. I guess I must have met you at Organix once before, because I got one of your european stickers. I also have a buddy who plays in the group "Max Power," he speaks highly of you. I know I shouldn't talk so much dirt on DSP synthesis. I use the Pro-53 sometimes and I love the 909 open hats on the LM-7. It just seems to me that too many producers are "completely" software based and I've noticed the quality of music is suffering for it. I'm sure many amateur producers are saying " I would buy a 303 and a 909 if I could afford it." Well, I suggest saving your money now because in the long run you will not only have a solid investment, but a means to establish yourself among your fellow musicians. Keep up the good work. Last edited by P.A.R.T.Y; Nov 05, 04 at 04:16 AM.
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