i mean borb song
Producing along with your favorite youtuber/ producer seems paramount.
You can get a track played on stranjahs channel ifthat’s your vibe
never take production advice from other musicians imo, especially electronic music and especially genre specific stuff, there is a reason why music feels so stale and incestuous these days
build your own advice from other realms of expression
I love you for posting the Rock trailer as a source of production inspiration.
Edit. those first two vids are sample gold.
Protein going out like
True. I also mentioned that ima be a strictly sweeps guy. Til I can generate decent sweeps daily I’ma focus on my grind.
dont sample, just learn 
cannibalism isn’t the only way forward for making beats
im not hating on sampling but i think watching valsulka works and just thinking about sampling might be degrading some of the information they are sharing with us in their explorations
i didnt post any of those videos for sample ops, i think its important to bring in other forms of expression when building a beat, and i dont mean directly sampling the material, i mean to actually learn from it and then add that knowledge to your workflow even as obtuse as the material may be.
Yeah v true, I just love foley and noise sample for textures. Also vox
There are some parallels to animation and film here.
Figuring out how to properly synthesize and go deep on that, is a bit like animation. You go a long, long way to create realism. You end making your own lines and get a personal style of drawing and touch.
Then on top of that there is wether you do that in hardware with a real life recording coming out of it, actual physics - as opposed to software or digital that stay in the box (I mean it’s still physical of course, just a different form of signal) - which is more plastic-y, mutable, or free as opposed to hardware in some senses.
Comparing that hands on animating/synthesizing with filming or recording something where you capture, record or sample some real world conditions that can look similar, unoriginal, too welknown or doesn’t go as deep.
But when you work with hardware you also end up with recordings that are samples.
So there is no either or.
You could do most of the synthesizing on top of recordings - you could literally do the hands on animating thing on top of samples.
It’s all just building blocks. And recordings and samples are referential, like the machines or hardware or software is referential. (Which matters in terms of how you want to communicate or put your work out there, how it relates to other work, if it communicates in a symbolic way).
What is to me truly the bit where you make it your own, is how you conceptualize the building blocks - it’s not about figuring it out on your own per se - its being deliberate about building new stuff.
So many of my techno producer mates have all this gear and they just sound like that gear, because they stay in that box.
Same with tutorial learned producers, they stay in the frame of mind presented as ‘‘good mixing, habits’’, effective loudness tricks, ‘‘this kick works in all tunes’’ - in tutorials AND in manuals and schools of different kinds.
Now, if you do watch a tutorial you might just reverse engineer what the dude is doing, and use the info to do something completely different - or maybe just notice what these dudes do and refuse to repeat it.
Think about what materials you use, try to make alternative solutions, but most importantly communicate the thing you find is the most interesting.
The last bit is good advice but at the same time the MAIN reason why so much music is stale, most artists want to communicate what they hear other artists doing. They want to stay in exactly that JayDee quantized pocket. Those vibes they recognize are fetischized by consumers, producers and even programmers and software and hardware developers.
So if you want to communicate something different or original - it being stale or unoriginal is actually mostly a blessing, it’s from a fan or consumer point that it’s a problem. Of course you can’t fully separate fan of music from creator or composer of music, because what entices you is what you might want to try to do. But there is certainly no good reason to be disheartened by other people’s work communicating something you are not interested in as a composer/producer/creator etc - it just means you can break that shit up.
What’s your most expensive plug-in that you rarely use?
Not necessarily expensive but I paid for Super VHS, I Heart NY, Parallel Aggressor, and Comeback Kid in a bundle from Baby Audio and never used 'em.
https://twitter.com/vor_bokor/status/1684668067563888640/photo/1
really cool tip
but
glad being into making music doesn’t bring about these incredibly difficult realistic demands as drawing
you can just not compress and do stuff and its fine
I like how the drums are controlled on this track.
I bought this a long ass time ago now I’m finally gonna go in with what it’s all about.
Off the top of my head, there’s only 1 purchase of dubstep bass patches for NI massive that I’ve misplaced. Everything else seems fairly accounted for.
Anyone tried Neutone?
Recently I’ve been wondering about making chords using different instruments.
Like if I played an Em7 but used 3 different synth sounds for each note.
I bet it would sound thicc
solid idea as this is essentially how various elements of a lot of orchestral composition work. of course tonally they’re pretty similar, but the different families of wind or brass or string instruments which play in different registers together are essentially occupying different voices of chords/harmonies
you could create a fat patch for the low end and brighter patches for the top end of the chord, and write or play in a line for each that corresponds to the different voices in each chord in a progression
Orchestral manoeuvres in the shadows
Yeah you might be interested in looking up voice leading, it’s a pretty similar concept