Basically what Gurnumsbug said. Too many people work on getting their artist name around instead of working on their sound. Just because you can get promotion doesn't mean shit. You can accumulate thousands of facebook & soundcloud followers but to get genuine fans who respect you as an artist i...

Basically, grab the tune, throw it in your daw, and throw on any spectrum analyzer you have and look at the peaks of the sound. Usually where there is a strong peak, there is a fundamental sound underneath it. Try to copy the sound by using the visual and building it like that.

If you're in this for the long run, might as well get into the groove of treating music production like a job and making yourself follow through with stuff. Sure, not everything is gold, but if you force yourself, you'll end up learning a lot more in a shorter time than only producing when inspired.

Soundcloud

Some newer productions since a few years back on an old alias. Here's our new shit doin' the VIP on Buddha Smoke.

Hey, do you guys book local talent? No venues around that do occasional dubstep shows. Trying to start locally here in Chicago is a bit tough if you're not making house.

Okay, so this is kick theory. What gives the ear the impression that the kick is weighty is the punch of the kick. It's snappy and loud and it transitions right into the low end like a normal kick would do sweeping down frequencies. There isn't much low end to the kick in the tune. I would suggest f...

My biggest influence is from what I'm drinking. Seriously. No jokes. Like Tea gives me a summer vibe, and I'll end up making something funky if im having some tea. Or if im having coffee i'll usually do something aggressive.

God damn. This thread is fucking brutal.

get rekt

huh?

Bassline from a tune im working on. https://soundcloud.com/makro-official/growl-bass/s-Wb71Q There's a few things i've learned to give a growl that really edgy grit. 1) Flangers. Holy fuck. Just play a note, add a flanger, and bounce out like 4-5 cuts of that one note. Gives it that swing, and you c...

Coolschmid wrote:Just buy as many $200 synths as possible so you can be bad at all of them.

I nominate this for the best reply of 2013.

Holy shit, my sides.

Carbon, Wicked, & Scrapyard all yield that neurofunk twisting sound. Some pitch bending and a little phasing is probably the key to these monster sounds.

Though I must say, joe must do some heavy resampling, because that patch sounds like absolute shit.

Best to make one patch, and then stem the rest of the other patches off of that original patch.

All about the flow.

I did the research. It's not this dope solution guy. I posted it in the article, but incase anyone misses it, I found the actual guy called "Louie" this article is talking about.

https://soundcloud.com/paolozampettitoods

https://dl.dropboxusercontent.com/u/223 ... xStems.rar

Hey guys, I've got a question. I'm sure somewhere in this thread it has been brought up, but lately I've been overly attached to FM synthesis. It fascinates the fuck out of me. I was wondering if the same concepts of making a reese could be applied to FM synthesis? I've been having a go at it for a ...

I used to resample, but I found an couple of problems with resampling. Not resampling itself, but its impact against my workflow. With resampling I could get caught up bouncing audio and spending more time engineering a certain sound, instead of writing the tune, and I usually get frustrated or side...

:u: Any tips on the sound design behind these guys? You guys know what im talking about, those really bouncy wub wub wub sounds. So far ive been avoiding LFO's and sticking with one shot envelopes. Im also using really quick subtle delays but I cant seem to get that proper deeeeeep wub. Using massi...

Link doesn't work for me.