The Musician's Gig Room Chat V1 - Songwriting and Sound Design for all!

[notgeogzm]

trying to wrap my head around something here

what are the pros and cons of additive/subtractive EQ? at the moment in my mind, additive EQ is useful for quick, subtle boosts and subtractive for everything else, but i feel like that's uninformed on my part

i'm just struggling to think of where additive EQ is genuinely like, meant to be used. for some sounds that are extremely loud in one frequency range and quiet in another, i'll go additive on one part and subtractive on another, and i just wonder if my current knowledge is healthy enough to stick with for the time being. my EQ work tends to result in muddiness sometimes, so i'm trying to nail it earlier on

[chaz13]

[QUOTE=geogzm;49528177]trying to wrap my head around something here

what are the pros and cons of additive/subtractive EQ? at the moment in my mind, additive EQ is useful for quick, subtle boosts and subtractive for everything else, but i feel like that's uninformed on my part

i'm just struggling to think of where additive EQ is genuinely like, meant to be used. for some sounds that are extremely loud in one frequency range and quiet in another, i'll go additive on one part and subtractive on another, and i just wonder if my current knowledge is healthy enough to stick with for the time being. my EQ work tends to result in muddiness sometimes, so i'm trying to nail it earlier on[/QUOTE]

It's all relative, it makes no difference really. You can boost somewhere or cut everywhere but there and it has the same overall effect (just with a different final gain).

In general you want to cut simply because EQ is normally for mixing purposes and when mixing adding MORE energy into the signal isn't usually what your aim is.

[killerteacup]

[QUOTE=geogzm;49528177]trying to wrap my head around something here

what are the pros and cons of additive/subtractive EQ? at the moment in my mind, additive EQ is useful for quick, subtle boosts and subtractive for everything else, but i feel like that's uninformed on my part

i'm just struggling to think of where additive EQ is genuinely like, meant to be used. for some sounds that are extremely loud in one frequency range and quiet in another, i'll go additive on one part and subtractive on another, and i just wonder if my current knowledge is healthy enough to stick with for the time being. my EQ work tends to result in muddiness sometimes, so i'm trying to nail it earlier on[/QUOTE]

additive is bad practice because if you continuously boost signal on all your tracks you lose control over the dynamics - also EQ morphs and shapes signal and I believe additive is considered more destructive but i'm probably wrong about that

[Kite_shugo]

new to the thread; haven't posted in a year or two in here. Been learning some reason and playing around with what it can do. I want to switch into ableton whenever the hell I can afford that.

(considering buying ableton and the OP-1 with my tax returns)

Anyone have any opinions on the teenage engineering OP-1?

[media]https://www.youtube.com/watch?v=IcQ3sHwFF3g[/media]

[media]https://www.youtube.com/watch?v=ZAUCII79VcE[/media]

seems like it's so fun to create with, but I don't know if I can justify it still being $850 after a few years. Maybe I would be happier with ableton push?

This is probably the only coherent thing I made in a DAW in honor of the last bloodmoon. Sylenth mixed with launchpad beats and a stem from a Singularity song used in the beginning.

[media]https://soundcloud.com/kiteappeared/lookingforward[/media]

I'll definitely start on giving criticisms of stuff you guys upload/ post on here if you want it. I'm still way in the learning phase myself

[elasticity]

[QUOTE=killerteacup;49528569]additive is bad practice because if you continuously boost signal on all your tracks you lose control over the dynamics - also EQ morphs and shapes signal and I believe additive is considered more destructive but i'm probably wrong about that[/QUOTE]

additive eq increases the volume in certain frequencies, this is not the way EQing should be approached primarily when [I][B]mastering[/B][/I], but it's not something that should be avoided entirely either

Subtractive EQing decreases the volumes of certain frequencies, which CREATES room/space for those frequencies to be filled by other instruments or whatever

additive EQ practice CAN be useful without being destructive, but it's probably best to approach the additive eq'ing as the secondary side of equalizing your track with that considered;

IMO additive EQ is that extra touch to those individual instrument spaces, i.e. to boost the lower/middle/higher end of that space a bit, which can be extremely creative in terms of sound design, assuming it aids producing the sound you're trying to achieve from those instruments;

but if you use additive EQing as your primary method of EQing, it's not going to allow that space for other instruments, you 100% need subtractive EQing to allow for that space, otherwise there will be clashes in frequencies resulting in a muddling of the instrumental sounds, which is definitely destructive.

but that's just like, my opinion man, i'm sure it can be useful in other contexts too either way, this is more of a 'rule of thumb' as i've come to learn in terms of mastering, but if it's sound design you're focused on, break all those rules if you must in order to design your sound;

[Skeeter]

[QUOTE=geogzm;49528177]trying to wrap my head around something here

what are the pros and cons of additive/subtractive EQ? at the moment in my mind, additive EQ is useful for quick, subtle boosts and subtractive for everything else, but i feel like that's uninformed on my part

i'm just struggling to think of where additive EQ is genuinely like, meant to be used. for some sounds that are extremely loud in one frequency range and quiet in another, i'll go additive on one part and subtractive on another, and i just wonder if my current knowledge is healthy enough to stick with for the time being. my EQ work tends to result in muddiness sometimes, so i'm trying to nail it earlier on[/QUOTE]

Additive EQ is really good for finding out where the instrument has their sweet spots and allows you to more easily grasp where you should use subtractive EQ on both the instrument you're currently using EQ on and on other instruments.

Muddiness usually comes from using too much additive EQ, think of it like this : The song you're mixing is a glass, half full. Now, the frequencies are the liquid. If you keep adding more liquid (additive EQ adds more signals with increased frequencies and overtones), the glass is going to get full real quick and even spill.

Generally it is a lot better to use subtractive EQ first to deal with both frequencies that produce harsh tones that you don't want in the mix, and only later (preferably in the mastering step) to use additive EQ to really flesh out what sounds good.

A pretty common practice is to sweep with the EQ to find out frequencies that both add a nice tone to whatever sound you're mixing but also find frequencies that sound harsh or in some other way is not pleasant to the ear. You can either make a mental note (or write down) the frequencies you find that are both good and bad, and use it later when you've searched every sound with this method.

This method is also very good for learning the different sounds that comes with, say an acoustic guitar.
The most obvious is the bass frequencies (let's say up to 250hz), you usually get a very boomy and often very muddled sound when boosting the frequencies here (another issue arises here, since it depends a LOT on how you've put up any microphone/s when recording the guitar. That's a whole new bag we won't talk about here), and you'll usually not find any frequencies around here that compliments the instrument.

You also have the frequencies at 251hz to 1khz, where the 'body' of the guitar is. Depending on where you want the guitar to sit in the mix and what guitar you have you can find good frequencies here, to give the guitar some depth.

The upper lower frequencies going from 1khz to around 4khz is where you usually find the frequencies that make the guitar sound good, and also the tones you get from sliding with your fingers across the strings, the attack of a plectrum or finger, bodily noises. Once again it depends on where you imagine the guitar being in the mix that tells you what frequencies should be cut or boosted (preferably cut!). The human voice usually fights for the frequencies in this area as well, and the human ear really likes the frequencies around 2khz to 3,5khz.

What you'll find in the frequencies going from 4khz to 20khz (after 12khz you'll usually not find anything that's actually usable, just artifical frequencies and a lot of noise) is what people call clarity.

Remember that every tone has a lot of overtones! In general an overtone is the root note played, but doubled. So a tone played at 220hz has overtones at 440hz, 880hz etc.

[Kite_shugo]

[QUOTE=Skeeter;49529459]Additive EQ is really good for finding out where the instrument has their sweet spots and allows you to more easily grasp where you should use subtractive EQ on both the instrument you're currently using EQ on and on other instruments.

Muddiness usually comes from using too much additive EQ, think of it like this : The song you're mixing is a glass, half full. Now, the frequencies are the liquid. If you keep adding more liquid (additive EQ adds more signals with increased frequencies and overtones), the glass is going to get full real quick and even spill.

Generally it is a lot better to use subtractive EQ first to deal with both frequencies that produce harsh tones that you don't want in the mix, and only later (preferably in the mastering step) to use additive EQ to really flesh out what sounds good.

A pretty common practice is to sweep with the EQ to find out frequencies that both add a nice tone to whatever sound you're mixing but also find frequencies that sound harsh or in some other way is not pleasant to the ear. You can either make a mental note (or write down) the frequencies you find that are both good and bad, and use it later when you've searched every sound with this method.

This method is also very good for learning the different sounds that comes with, say an acoustic guitar.
The most obvious is the bass frequencies (let's say up to 250hz), you usually get a very boomy and often very muddled sound when boosting the frequencies here (another issue arises here, since it depends a LOT on how you've put up any microphone/s when recording the guitar. That's a whole new bag we won't talk about here), and you'll usually not find any frequencies around here that compliments the instrument.

You also have the frequencies at 251hz to 1khz, where the 'body' of the guitar is. Depending on where you want the guitar to sit in the mix and what guitar you have you can find good frequencies here, to give the guitar some depth.

The upper lower frequencies going from 1khz to around 4khz is where you usually find the frequencies that make the guitar sound good, and also the tones you get from sliding with your fingers across the strings, the attack of a plectrum or finger, bodily noises. Once again it depends on where you imagine the guitar being in the mix that tells you what frequencies should be cut or boosted (preferably cut!). The human voice usually fights for the frequencies in this area as well, and the human ear really likes the frequencies around 2khz to 3,5khz.

What you'll find in the frequencies going from 4khz to 20khz (after 12khz you'll usually not find anything that's actually usable, just artifical frequencies and a lot of noise) is what people call clarity.

Remember that every tone has a lot of overtones! In general an overtone is the root note played, but doubled. So a tone played at 220hz has overtones at 440hz, 880hz etc.[/QUOTE]

really interesting post! thanks for writing it out

[QUOTE=elasticity;49529040]additive eq increases the volume in certain frequencies, this is not the way EQing should be approached primarily when [I][B]mastering[/B][/I], but it's not something that should be avoided entirely either

Subtractive EQing decreases the volumes of certain frequencies, which CREATES room/space for those frequencies to be filled by other instruments or whatever

additive EQ practice CAN be useful without being destructive, but it's probably best to approach the additive eq'ing as the secondary side of equalizing your track with that considered;

IMO additive EQ is that extra touch to those individual instrument spaces, i.e. to boost the lower/middle/higher end of that space a bit, which can be extremely creative in terms of sound design, assuming it aids producing the sound you're trying to achieve from those instruments;

but if you use additive EQing as your primary method of EQing, it's not going to allow that space for other instruments, you 100% need subtractive EQing to allow for that space, otherwise there will be clashes in frequencies resulting in a muddling of the instrumental sounds, which is definitely destructive.

but that's just like, my opinion man, i'm sure it can be useful in other contexts too either way, this is more of a 'rule of thumb' as i've come to learn in terms of mastering, but if it's sound design you're focused on, break all those rules if you must in order to design your sound;[/QUOTE]

also this one

[Skeeter]

A thing to remember when it comes to mixing however, is that the important thing isn't really how you do it ; It is how the recording sounds after you're done.

Granted, there are some practices that are generally considered good ways to mix and saves you time, but it shouldn't stop you from doing it your way, as long as the mix comes out in a way you enjoy or for whoever you mix it for.

[editline]14th January 2016[/editline]

[QUOTE=BenJammin';49519336]Not that I am a master of mixing, but I think the instruments need to sound a bit more distinct from each other in the mix. Nothing really seems to "pop" sound wise to me.

Do you play the instruments on these? Or is it digital. Either way it's rad, reminds me of 90s videogame soundtracks. If I was good at making games I would hire you for making music.
[/QUOTE]

Thanks for listening! I'm actually not 100% sure how I would go about doing that to be honest, I'm pretty happy with the sounds and I was going for a thick wall of sound-type sound with everything taking place. I can definietly see your point of view however and making things pop out is something I try and strive for when mixing usually, so your constructive feedback is very much appreciated!

I play the drums and the guitar+bass, the synths however are purely programmed.
Thanks a lot! It really means a lot hearing something like that <3

[splenda]

[QUOTE=Kite_shugo;49528953]new to the thread; haven't posted in a year or two in here. Been learning some reason and playing around with what it can do. I want to switch into ableton whenever the hell I can afford that.

(considering buying ableton and the OP-1 with my tax returns)

Anyone have any opinions on the teenage engineering OP-1?

[media]https://www.youtube.com/watch?v=IcQ3sHwFF3g[/media]

[media]https://www.youtube.com/watch?v=ZAUCII79VcE[/media]

seems like it's so fun to create with, but I don't know if I can justify it still being $850 after a few years. Maybe I would be happier with ableton push?

This is probably the only coherent thing I made in a DAW in honor of the last bloodmoon. Sylenth mixed with launchpad beats and a stem from a Singularity song used in the beginning.

[media]https://soundcloud.com/kiteappeared/lookingforward[/media]

I'll definitely start on giving criticisms of stuff you guys upload/ post on here if you want it. I'm still way in the learning phase myself[/QUOTE]

The op-1 is a fun little thing that is built literally like a tank, they overbuilt the fuck out of it, but at the same time I would wait a few weeks for NAMM (basically E3 for music technology) to see if anything else strikes your fancy. While my push is probably my favorite piece of studio gear, besides my soundcard, if you haven't even bought ableton yet you should probably see if its workflow is right for your before dropping all that cash on an expensive midi controller.

[editline]14th January 2016[/editline]

On the topic of EQing, there are no set rules, anyone who tells you there are is totally not thinking about the context of a song. If it feels right to boost certain frequencies then do it. In the end, if the mix sounds good, no one is going to be like "good mix with good separation but I was told you shouldn't use additive eq so you should hinder your mix by following my arbitrary rule." While the other posts are bang on as well, I feel like I need to say that especially with mastering or EQing, you should only do what is right for your song. This is also why I find presets for eqs, compressors, limiters, etc to be really weird because they are all not going to be correct for your piece.

[editline]14th January 2016[/editline]

But then again I literally am an experimental musician so take what I say through that lens.

[Unkle Dada]

[media]https://www.youtube.com/watch?v=JuZpEtZF-hg[/media]
Looks like I finally might be able to afford a decent-sounding analog polysynth. :dance:

[paindoc]

Yeah, that thing is pretty cool. Thinking of selling my JD Xi And getting that and some more libraries. JD Xi isn't knobby enough for me, and doesn't do one knob per parameter.

And I need string libraries. The 1080 is fun but such a pain in the ass to program and tweak. Rather use a plug-in with an actual gui

[splenda]

Seriously the two things I've I said will just print money are a cheap anologue poly and an anologue poly modular "voice" from like Dave Smith or someone.

[paindoc]

[QUOTE=splenda;49533438]Seriously the two things I've I said will just print money are a cheap anologue poly and an anologue poly modular "voice" from like Dave Smith or someone.[/QUOTE]

Everyone's been saying that :v:

[llamalords]

[QUOTE=UnknownDude;49531812][media]https://www.youtube.com/watch?v=JuZpEtZF-hg[/media]
Looks like I finally might be able to afford a decent-sounding analog polysynth. :dance:[/QUOTE]

Damn, I watched that video and just impulsively bought this fucking beauty......

[Nitro836]

So, are there some Basic VSTs, or whatever the plugins are called, that I should get? I would be especially interested in finding chiptune samples and classical instruments.

And on the subject of those plugins, I see a lot of free and costly kind. Are there notable differences in them?

[Skeeter]

[QUOTE=Nitro836;49535625]So, are there some Basic VSTs, or whatever the plugins are called, that I should get? I would be especially interested in finding chiptune samples and classical instruments.

And on the subject of those plugins, I see a lot of free and costly kind. Are there notable differences in them?[/QUOTE]

Most sampled instruments that cost a lot are 9 out of 10 times so vastly superior to the free kind that you would not be able to tell if it was a real orchestra playing versus just programmed, and in general the VSTs that costs money are just so much better than free VSTs.

With that said, a lot of the free VSTs are immensly capable of creating sounds to your liking, for classical instruments I use the Edirol Orchestral
[media]https://soundcloud.com/skriket/thank-you-for-the-music-1[/media]
You can hear how the strings (got a french horn and a flute there as well, but not really audible) sound here. The piano is the plugin TruePiano which costs money.

[Nitro836]

I might just buy the FL Studio Producer Edition, but last question.

Do you think recreating some songs you like is a good way to train yourself in the use of the program?

[paindoc]

[QUOTE=Nitro836;49536451]I might just buy the FL Studio Producer Edition, but last question.

Do you think recreating some songs you like is a good way to train yourself in the use of the program?[/QUOTE]

Yeah, don't fret about copying. Copy away in the beginning, copying is how we learn most of the other skills in our lives.

[Skeeter]

[QUOTE=Nitro836;49536451]I might just buy the FL Studio Producer Edition, but last question.

Do you think recreating some songs you like is a good way to train yourself in the use of the program?[/QUOTE]

It's a really, really good way at both learning the program and building a solid knowledge of both music theory and how a song works.

I use FL studio producer edition and quite frankly, I love it.

[notgeogzm]

[QUOTE=Skeeter;49529569]A thing to remember when it comes to mixing however, is that the important thing isn't really how you do it ; It is how the recording sounds after you're done.

Granted, there are some practices that are generally considered good ways to mix and saves you time, but it shouldn't stop you from doing it your way, as long as the mix comes out in a way you enjoy or for whoever you mix it for.

[editline]14th January 2016[/editline]

Thanks for listening! I'm actually not 100% sure how I would go about doing that to be honest, I'm pretty happy with the sounds and I was going for a thick wall of sound-type sound with everything taking place. I can definietly see your point of view however and making things pop out is something I try and strive for when mixing usually, so your constructive feedback is very much appreciated!

I play the drums and the guitar+bass, the synths however are purely programmed.
Thanks a lot! It really means a lot hearing something like that <3[/QUOTE]

yeah, that rule's why I didn't mind too much using additive EQ, but since using subtractive I've found myself with a lot more headroom and a clearer sound. i'm just better at cutting than boosting, i realise now :v:

[Nitro836]

I think I MIGHT be getting the way FL Studio works. It's kinda fun experimenting with melodies. I'm trying to make something that sounds like videogame music, like certain themed areas, like a pub or city streets.

If I manage to complete anything, how would I go about showing it off?

[RelaxedCreepr]

[QUOTE=BenJammin';49519336]Anyways, just recently uploaded a new WIP thought might as well post my last 4 work in progress thingies on here that I haven't put up yet for critique. It's nowhere near as good as a lot of your guys stuff though.

[media]https://soundcloud.com/kralcneb/wasp-jam-wip-new-drum-mix[/media]
[media]https://soundcloud.com/kralcneb/was-bored[/media]
[media]https://soundcloud.com/kralcneb/another-wip[/media]
[media]https://soundcloud.com/kralcneb/wip-second-iteration-now-with-guitar-solo-shit[/media][/QUOTE]

These all sound like they could be in a really successful indie game.

The first one's swing-y feel is very well done. The second one has such a cool dark feel to it, but I just would suggest that the snare was a little quieter, because it's kind of jarring with the other instruments being so quiet in comparison. When I was listening to the third one, the very first thing that came to mind was old ass DOS games with the weird but cool music. It's pretty nice. Finally, the last one gave me vibes of (this might sound weird but) loneliness? I can just imagine an old cowboy on an old cabin in an old wood. It's also pretty nice.

You have really great diverse music making skills. Use it to your advantage, make music for people or something.

---

[video]https://soundcloud.com/relaxedcreeper/inquiry[/video]

In the past, I've tried making trap songs, but they would always sound ironic trap songs, ya know? But I tried making a real one and this is possibly the song I've been most proud of. I've just had a lot of patience while making this and I think it paid off.

[Skeeter]

[QUOTE=Nitro836;49542703]I think I MIGHT be getting the way FL Studio works. It's kinda fun experimenting with melodies. I'm trying to make something that sounds like videogame music, like certain themed areas, like a pub or city streets.

If I manage to complete anything, how would I go about showing it off?[/QUOTE]

Export it as a .wav or .mp3, upload it to soundcloud and post in this thread.

Remember to read the thread rules first!
If you're exporting as a .wav the soundquality will be the best, it'll take about 10 times as much space as a .mp3 though.
When exporting as an .mp3, try and export it as at least 192kbps for good tonal clarity. :)

[Staneh]

[QUOTE=RelaxedCreepr;49544091]These all sound like they could be in a really successful indie game.

The first one's swing-y feel is very well done. The second one has such a cool dark feel to it, but I just would suggest that the snare was a little quieter, because it's kind of jarring with the other instruments being so quiet in comparison. When I was listening to the third one, the very first thing that came to mind was old ass DOS games with the weird but cool music. It's pretty nice. Finally, the last one gave me vibes of (this might sound weird but) loneliness? I can just imagine an old cowboy on an old cabin in an old wood. It's also pretty nice.

You have really great diverse music making skills. Use it to your advantage, make music for people or something.

---

[video]https://soundcloud.com/relaxedcreeper/inquiry[/video]

In the past, I've tried making trap songs, but they would always sound ironic trap songs, ya know? But I tried making a real one and this is possibly the song I've been most proud of. I've just had a lot of patience while making this and I think it paid off.[/QUOTE]

I think it sounds pretty nice dude, really heavy!

[media]https://soundcloud.com/mrstaneh/edm-test-1[/media]

Here is my first try at EDM, hope you people like it and would love some criticism, it's not completely done yet (Hence the last part just stopping)

[Skeeter]

[QUOTE=RelaxedCreepr;49544091]These all sound like they could be in a really successful indie game.

The first one's swing-y feel is very well done. The second one has such a cool dark feel to it, but I just would suggest that the snare was a little quieter, because it's kind of jarring with the other instruments being so quiet in comparison. When I was listening to the third one, the very first thing that came to mind was old ass DOS games with the weird but cool music. It's pretty nice. Finally, the last one gave me vibes of (this might sound weird but) loneliness? I can just imagine an old cowboy on an old cabin in an old wood. It's also pretty nice.

You have really great diverse music making skills. Use it to your advantage, make music for people or something.

---

[video]https://soundcloud.com/relaxedcreeper/inquiry[/video]

In the past, I've tried making trap songs, but they would always sound ironic trap songs, ya know? But I tried making a real one and this is possibly the song I've been most proud of. I've just had a lot of patience while making this and I think it paid off.[/QUOTE]

I usually have pretty low patience for making songs, I'm of the school of putting out as much shit as possible in an effort to both learn how to perfect the craft of writing songs (which I'll never finish because I honestly want to make all sorts of music) and I'll never get better if I cant listen to my own progres of mixing, so that I have my own reference to what works and what doesnt.

Sorry for the rant! As for your song? I fucking love it, I used to listen to some trap about two years ago and I remember it being pretty meh. This though? Hot baby loving jesus, you've really found something that works! The bass is solid, sadly my current speakers are way too small to hear all the low frequencies, but I know for certain it would sound like gold on some club for sure.

The kick punches you right in the face and takes no prisoners, and the various percussive instruments bring a very nice feel to it, as does the melodic and "random" instruments as well.
My only gripe would probably be that the progression to the part after 3 minutes sounds a bit sudden. Nothing bad about that though, the drop is really good and I would love for the track to end on a higher note, much like it does before the 3 minute mark.

Overall, I'd say you definietly should be proud of this because this shit is as heavy as lead, and I would not only pay for a full EP/album of tracks of this quality but I would also dance til I passed out if I heard this on a club.

As for me? I think I got my track done for the facepunch collab album.

[media]https://soundcloud.com/skriket/dansa-som-om-ingen-ser[/media]
I want to make more major happy stuff, so embracing the inner party spirit of Andrew W.K made me do this!

More info below!
As for the Facepunch Collaborative - What number are we on?

[B]It's time for another facepunch collaborative album[/B], this time we'll have the deadline in just one month, or to be more precise February 11th

The rules are as always:
[B]Submit what you're proud of[/B], if you're not sure how people are going to react, or wondering if it is good enough, then maybe it isn't the right track for this album. If you however feel that you're track is a killer then it should obviously be on the album!

[B]No samples unless you have the rights to use them[/B], samples can be a legal gray area but if you know you don't have the rights for them or in any way got yourself covered, don't use samples. This album rarely gets much coverage so generally you would be in the clear, but it can also be a huuuge hassle if samples are used without the necessary precautions.

[B]Master the track to -0.1 dB[/B], this is just so that all the tracks are somewhat in the same ballpark when it comes to how loud it is percieved.

All monetary gains will be given to charity, so this is purely non-profit.
Send it to me as a .wav !

[splenda]

[QUOTE=Skeeter;49544936]
[B]Master the track to -0.1 dB[/B], this is just so that all the tracks are somewhat in the same ballpark when it comes to how loud it is percieved.

All monetary gains will be given to charity, so this is purely non-profit.
Send it to me as a .wav ![/QUOTE]

Dude -0.1 dB is still not low enough. Basically every professional recording is mastered down to -0.3 dB or lower in order for the compression artifacts to not over modulate. Yes we have to submit songs in a lossless format, but the end user is not going to listen to the songs in a lossless format so they will have to be compressed at some point, there is no way around this.

[Plaster]

[QUOTE=RelaxedCreepr;49544091]These all sound like they could be in a really successful indie game.

The first one's swing-y feel is very well done. The second one has such a cool dark feel to it, but I just would suggest that the snare was a little quieter, because it's kind of jarring with the other instruments being so quiet in comparison. When I was listening to the third one, the very first thing that came to mind was old ass DOS games with the weird but cool music. It's pretty nice. Finally, the last one gave me vibes of (this might sound weird but) loneliness? I can just imagine an old cowboy on an old cabin in an old wood. It's also pretty nice.

You have really great diverse music making skills. Use it to your advantage, make music for people or something.

---

[video]https://soundcloud.com/relaxedcreeper/inquiry[/video]

In the past, I've tried making trap songs, but they would always sound ironic trap songs, ya know? But I tried making a real one and this is possibly the song I've been most proud of. I've just had a lot of patience while making this and I think it paid off.[/QUOTE]

Holy shit thats so sick, I need more of that non-generic trap that don't use vengeance samples in each and every song

[QUOTE=Staneh;49544765]I think it sounds pretty nice dude, really heavy!

[URL="https://facepunch.com/#"]Listen to Soundcloud recording[/URL]
[URL]https://soundcloud.com/mrstaneh/edm-track-test[/URL]

Here is my first try at EDM, hope you people like it and would love some criticism, it's not completely done yet (Hence the last part just stopping)[/QUOTE]

The song sounds very solid to me, the biggest thing it needs is a better mix but it's because the song isn't finished so that's no big problem.

[RelaxedCreepr]

[QUOTE=Plaster;49544988]Holy shit thats so sick, I need more of that non-generic trap that don't use vengeance samples in each and every song[/QUOTE]

I recommend listening to some of Aero Chord's music. He makes some amazing trap music without being too generic or gimmicky.

[Plaster]

-mrge

[editline]16th January 2016[/editline]

[QUOTE=RelaxedCreepr;49545020]I recommend listening to some of Aero Chord's music. He makes some amazing trap music without being too generic or gimmicky.[/QUOTE]

But there needs to be more, can't be that the generic trap songs get really big and known but the ones that try to be as original as possible rarely get the same amount of attention, it's sad.

[AuntJimmy]

[QUOTE=Kite_shugo;49528953]
This is probably the only coherent thing I made in a DAW in honor of the last bloodmoon. Sylenth mixed with launchpad beats and a stem from a Singularity song used in the beginning.

[media]https://soundcloud.com/kiteappeared/lookingforward[/media]

I'll definitely start on giving criticisms of stuff you guys upload/ post on here if you want it. I'm still way in the learning phase myself[/QUOTE]

It's nice and relaxing, just feels a little rough. The drums don't really fit this type of music, the choice in samples is fine but they might just need a slight amount more reverb or something. They feel a bit too housey, especially the kick drum, if that makes any sense. Also a bit too much bass in the part at 0:38. It could work if you modified it a bit but it juts sounds weirdly distorted.

Yet another attempt to rip off the old NFS games. Sooner or later I'll get the style down.

[media]https://soundcloud.com/grandmamax/you-destroyed-it-all[/media]