deathy
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deathy
ParticipantI definitely recommend the keyboard, even without a strong keyboard playing skill, it will make note creation much easier for you. The LPD8 will make a lot of your work easier, and it’s a very decent price, so it won’t hurt, just is not absolutely necessary.
Yeah, Massive is just a VST instrument, a very good one – it will take some time to learn how to make your own good patches with it, but it will be time well spent, and the built in sounds will also keep you happy to start with.
Ableton is one DAW that would support Massive, yeah… the list of DAWs is very very long. I personally use Ableton, but I’ve got my eye on Bitwig as a possible change in the future.
Fruity Loops is also really popular, as is Logic Pro if you’re on a Mac. If you’re an old school computer music geek that’s made MODs or other tracker like formats, there’s also Renoise, although I would only recommend it if you really want a tracker interface, as it is rather fiddly for doing things if you are not already familiar with that workflow – it’s not worth the trouble if you don’t already know it, as you can get the same results from a lot of other DAWs.
deathy
ParticipantYou really don’t need much these days… even the LDP8 is probably more than you’ll need for production – though it will be nice, don’t get me wrong.
If you’re planning to make electronic music, and you intend to use a VST capable DAW, then the Massive plug-in from NI is likely to be your go-to tone generator… and if you don’t intend to use a VST capable DAW, then rethink your plan. 😉
You might want to sign up for the free Coursera “Introduction to Music Production.” It looks potentially pretty good. I’m a bit beyond Intro level, but I’ve signed up for it anyway just because there’s always more to learn.
deathy
ParticipantLOL
That does make it risky to play. 😉
deathy
ParticipantYeah, I really would like to take the course, but it’s not in my financial capacity at the moment.
deathy
ParticipantExactly. Ultimately, what sounds good to me is the final judgement, but the tools help me to consider more variables.
deathy
ParticipantYou posted it a couple of times in this forum. 🙂
deathy
ParticipantA good point, and I do find that a lot of my tracks that MiK identifies as high energy are not what I would consider high energy, so I am not going to use that as the end-all-be-all, but I also like to utilize every tool available to me to take measure and improve my results as best as I can.
deathy
ParticipantDude, sounds like you should be writing a blog. I’d totally read that.
deathy
ParticipantBrilliant, thanks!
deathy
ParticipantPerhaps not, but you have helped to prove that, regardless of there being or not being divinity in the universe, there is at least good.
deathy
ParticipantHowdy, Morgan, welcome!
deathy
ParticipantWell, that’s simplifying it a lot… I know how to write the algorithm, it’s not just cutting bits out, that would make for a god awful noise as you would have random jumping around in the sample, and when you expand it you DO have content to fill with – it’s tricky, but it’s actually not about the algorithm, it’s just about the way it sounds – slowing down too much just has a draggy feel to it.
deathy
ParticipantThe two that come to mind for me are both top producers in the genre I work in, but they don’t seem very subtle to me.
deathy
ParticipantAgreed.
deathy
ParticipantI also find that speeding up can still sound better to much higher speeds than slowing down (with keylock on, of course). Some tracks, 18-20% increase in speed sound just fine, but a drop of more than 8% sounds terrible to me… too draggy.
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