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28

One of the most common pieces of advice I hear about this is to take breaks. You're right that in some situations (extremely tight deadlines, for example) this may not be practical, but in reality, it's the best way to achieve the results you hope for. Listening fatigue is a real thing, and the phenomenon you describe, coming back to a song you liked only ...


16

Taking breaks has been mentioned, and is obviously a good idea! Other ideas: A change is as good as a rest: work an a different project for a while, and come back to the first one listen to other music in a similar style - or even a different style - to get your bearings again, and tune yourself back in to what's normal listen on different systems, and ...


12

It's interesting that to me your example doesn't sound natural at all. To me it seems that the sound was intentionally designed to sound unnatural. I guess "natural" is a pretty broad and somewhat subjective concept, so for simplicity we will define "more natural" as "inducing less change" and "less natural" as "inducing more change". I can think of 4 ways ...


12

Important note This answer is now obsolete. FlexASIO seems to be the current solution. I think I know where is the issue. My Windows-fu is rusty, but here is what I found. Solution, in short Get ASIO multi-client from here or here (they are different, you might want to try both). After installation you should be able to use your interface with more than ...


10

I found ASIO Link and it lets you listen to windows audio as well and send audio over the network. The price $39.95 AUD on Nov 10, 2016 so please ignore the price information in the below comment by mateen-ulhaq. Update November 2019: As explained in this post, the developer of ASIO Link recently passed away, and his nephew authorised the software to be ...


7

You will probably need the help of the game's audio designer to learn the exact requirements and limitations; with a powerful enough audio engine in-game, you can really do anything imaginable. Presuming that you are not pushing the boundaries of video game music, though, you do still have a bit of freedom as a writer. You just need to think in terms of ...


7

Are there general rules or tips on how to organize VSTs? (...) I would like to know if there's a way to arrange VSTs properly, so that every plugin uses its full potential. There's no correct order. It's all about preference, what you want to achieve, and the context. You'll find a lot of suggestions, like putting time-based effects (like delay or reverb) ...


7

People did use DAWs in the 90s, but in the early to mid 90s, the few DAWs that existed were generally only used by professionals. That is because the processing power of computers was not enough to handle the digital signal processing that even a basic DAW needs, and hard drive systems were not fast enough to stream audio in real time, so DAW systems ...


7

You can produce music without a DAW, and synthesizers don't have to be played live by a human player. There's this thing called MIDI, introduced in 1982. https://en.wikipedia.org/wiki/MIDI With MIDI, devices can send instructions like note-on/note-off to each other, effectively playing the other device. A device called sequencer can play a synthesizer by ...


6

Here's how it works, generally speaking: One MIDI track which has your complete drum score, with the VST plugin applied to it. Any number of tracks, each of which receive a different output (channel) from your MIDI track. So the basic sound is provided by the VST plugin, but you can add the necessary plugins on a component-by-component (or track-by-track) ...


6

An equalizer works on the complete signal. It's like using a camera filter in order to mask some unwanted detail in a scene you are photographing. A pick noise is a sharp "click". This has a wide distribution across frequencies. Going at it with an equalizer will take energy from the click while making it muddier. If you want to work with an equalizer, ...


6

What you're describing is a pretty typical workflow. Sibelius is a notation program and isn't that concerned with great synthesis. Reaper is a DAW and isn't that concerned about being an awesome notation editor. You can import better sound libraries into your notation program, but then you'll just find something else that's lacking, such as fader automation ...


6

Nevermind guys, I figured it out. So basically Ableton has a feature where you can map tasks like arming or disarming a track onto a MIDI event (CTRL+M). But it needs to receive that event from an external source. So I set up a dummy track containing the MIDI events that would trigger the required action at the right time. Now all I had to do was figure ...


6

By copy/pasting the exact same sound to two tracks then panning them hard left & right, you have in fact created a mono sound that just takes up two tracks. In stereo recording, the very definition of centre-panning is that the same sound comes at the same volume from both sides of the stereo field. The only way to perceive the attack as not centre-...


6

3d12 and topo morto covered most of it, but having a good set of (correctly positioned) studio monitors also makes a huge difference. You can mix more effectively and at a lower volume, and you tend to spend less time wandering down the wrong path because you can identify problems more precisely. I make somewhat bottom-end heavy industrial electronica but ...


5

To answer your last question first, tuners pretty much do this. So a tuner VST may help. I have not tried it, especially on inharmonic sounds. Here's a definition (Wikipedia): The fundamental frequency, often referred to simply as the fundamental, is defined as the lowest frequency of a periodic waveform. [...] In terms of a superposition of sinusoids (e....


5

Some of your question is about music theory, but I sense it's more about composition and comparing acoustic instruments with the DAW. I can never manage really emotional songs If you are still learning the composition or performance skills for creating emotional music, and you input in the DAW with the mouse, I think the DAW will get in the way. Physical ...


5

There are numerous sounds You can get from the FL Studio's basic installation. In version 12.1.2, You can find a fine piano on Fl-keys generator (in the plugin browser, go to Installed > generators > Fruity). There are many piano sounds, through which You can list by clicking on the < and > arrows on the top right corner of the FL Keys window. ...


5

Beatmaking stems from the use of a regular acoustic drum kit in rock, pop, and perhaps especially R&B and funk. Early beats that were made with drum machines or samples were usually meant to re-create beats played on actual drum kits. The most commonly used pieces of the drum kit are just as you list: Kick Snare Hi-hat (open and closed) Many of the ...


5

Steinberg have two 'remote' working solutions, VST Connect & the new VST Transit I haven't used either in my real workflow, but was involved in early betas of Connect, which at the time looked very promising.


5

I have a USB mic A USB Mic is basically a mic with an audio interface built in. Of course it's all you need if that mic is the only sound source you need. But what if you do want to record a guitar, or a synthesizer? Or you want to use a specific mic that doesn't have USB? That's one reason to get an audio interface - you can connect anything to it. and ...


4

Reaper is an awesome tool and can do A LOT, so it's a bit overwhelming but in its basic use, it's quite simple, once you know what you're doing. You can find a lot of tutorials and resources on the Internet about this software (because it is inexpensive, a lot of non-professional use it). I like a lot the website Tutorials For Reaper, you can start with ...


4

I don't have time for a full-blown answer tonight, but as a user of Reaper myself, I can say that it is certainly capable of doing what you want, though I agree that it can be a tad overwhelming at first. Even after years of use, I certainly don't understand all of its features -- just the ones that I've come to use regularly. I encourage you to stick with ...


4

I agree largely with the other posted answer, but from the perspective of someone who has messed around with electronic music to at least a modest degree. I have a lot of VST synthesizers (enough that I definitely stay directionless most of the time) but when I feel inspired to write . . . 'something' . . .I find it very helpful to start extremely simple. ...


4

Right click the audio passage -> convert -> convert to new sampler track. You can also go to the audio menu and select convert to new sampler track directly. Select create zones from transient markers, and select the sampler's range. Click ok. And you are done.


4

Ok, I was about to say sorry, and that I'm an idiot and "why I didnt come up on it earlier!", but no. The solution is not intuitive, because it is not consistent with how other up/down button works (on the insert for example)... The answer is to hold down a left mouse button on the up/down button of the send until you'll get the contextual menu with options....


4

I'm not sure if I know the sound you're talking about, but I can say one thing right off the bat: Your mix is extremely loud. I think what you're hearing is distortion caused by some combination of over-compression and actual clipping of the waveform at the top. If you're using some kind of mastering plug-in, back that off and leave some crest factor and ...


4

What's happening is that Reaper is keeping the entire undo history of your project(s) and when you close the project, it saves the undo history to a file. When you open the project again, it loads the entire undo history of the project into memory. When the undo history becomes large enough, it takes up so much memory that your performance suffers. Of ...


4

In the abstract, adding different tools to your arsenal tends to promote creativity, no matter what it is, so on a basic level this is true. That being said there is a specific gap involved in DAW based composition: there is a physical disconnect and time delay between what you do to sequence the music, and actually being able to hear it. For many (most? ...


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