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Yep. If you're using instruments and fx that he doesn't have, it's the obvious way to get him those sounds that you made with the thing. Then he can arrange, rejig, add a bridge, apply fx, send it back to you for another round etc.
I'd try to keep things dry (i.e. hold off on reverbs) until it's taken shape. Work out the bones first.
Also, MIDI. If you've written a nice tune but you're not pumped about a particular instrument, just send him the MIDI.
Okay, stupid question....I just know I used to be able to fast forward and rewind the File Player in AUM but cannot for the life of me remember how to do it. Help? Is there a better simple AUv3 file player option that I should be using that lets me immediately jump to different sections of a track? Thanks!
@oddSTAR , swipe the orange bar to the right below the transport buttons at the top left. Thats how I do it anyway!
Great thread! I'd like to join in on this topic with two dumb questions I've been saving up.
First question: Is anyone else noticing the sound in certain apps just "doesn't sound right" after updating to iOS 14? More specifically, it looks like I'm on 14.2. I haven't been able to pinpoint when it comes up or really even how to describe it. Seems to appear when I'm using sounds I'm not already familiar with so I've brushed it off as whatever the sound is just not being very good, moved on. But I've noticed it more and more and I'm pretty sure it's an issue that arose from one of the latest iOS updates. It seems to be most prevalent on lower sounds - kick drums especially but sometimes bass. It sounds really bad and I'm sure there's a technical term for the sound which would help but I'm not sure - to me it sounds just very fuzzy. I've noticed it in Cubasis 3, Beathawk, and Auxy. Not every time and not every sound. But when it happens, it does seem to be somewhat global (if I'm hearing it in Cubasis 3 and I switch to Beathawk, I can count on getting it there most of the time as well).
I'm not sure if it's the same issue but there have been certain apps where this similar sound is affecting everything and they're just not useable. But those have all been older apps that I assumed just hadn't been kept up to date. For example, if I run elastic drums as a standalone while using air pods, everything sounds horrible. If I run it without airpods, back to normal. Or if I run it through AUM, seems to work even with air pods.
Second: Do you guys ever fire up AUM and get a message "No Audio Units Found" when you go to load up an instrument? This used to happen maybe once every couple months. Now it seems to be happening more often. The only solution I've found is to completely shut down the iPad and restart.
I'm on a 11 Inch iPad Pro with 256 GB. I believe it's the 2018 version (whatever was out just before the newest iPad Pro came out).
That's got it, thanks!
STUPID QUESTION:
What is a reference track and how is it used?
@audiblevideo *activating troll force field just in case. Reference track is a track or song in the genre that you are producing, in the format/market that you are targeting-a hit pop song on the radio for example. You use it to go back and forth between it and your song trying to get the different elements in your mix to sit similarly to the track you are referencing. Do my vocals sound similar, have similar fx, loudness? Is my snare too loud when compared to the reference? There are many videos on YouTube showing the technique in action. I recently watched one where the producer was making a commercial rap song and he was using a Drake song as a reference. I’ve heard folks far more talented than I say it is a great tool and others, equally talented say that it limits creativity. I don’t think it can hurt, but I’m not a pro. *troll force field deactivated.
Ah, makes complete sense. Thank you. My first though was it was a fancy click track. The first time I heard the term was just this year. No trolls here — just a bridge.
OSQ number 2
How important is it that you tune your drums? Which Drums and why, since the majority of percussion seems to be too short to “hear” a tone (except for the, in a traditional kit, the bass drum and toms) ... I may have partially answered my own question :P
So when I open Audiobus and put in a daw as a destination, and then open an IAA or AU as an input, often times I’ll see “restart” on the destination app. Have to close everything and try again. Audiobus used to be so easy, what am I doing wrong these days?
My question may not be so stupid... but I’m getting myself something for Christmas and I torn between a pocket operator (it would be my first one) or I’m thinking of picking up a uno synth. Anybody have any suggestions, opinions or any other advice on said items? Maybe some other options of some nifty hardware gear or accessories under $150/$200? Thanks
Modals Craft Synth could be fun $150
Monophonic Wavetable Synthesizer Module with 8 Oscillators, 40 Available Waveforms, 16 Oscillator Modifiers, Envelope Generator, LFO, MIDI In/Thru, and USB-MIDI
Modal Skulpt is a step up $199
Polyphonic Virtual Analog Synthesizer with 4 Voices, 32 Oscillator, 3 Envelope Generators, 2 LFOs, MIDI In/Thru, and USB-MIDI
This thing is bomb for $99 Korg Nu:tekt NTS-1 Monophonic DIY Synth
DIY Synthesizer Module Kit, with Assembly Tool, USB Cable, and User Guide
Seems to be cool for $99 bucks Nunomo QUN
feature packed virtual synth with virtual analog, FM and granular synthesis on board as well as a great little sequencer.
Meeblip Geode $129 I have the Triode. It's fun.
mono synth with a single goal: to let you dial in edgy, cutting, grimy sounds you won’t mistake for anything else.
Cubit Go USB MIDI interface $59.95
USB interface with a difference: integrated hardware MIDI OUT mirroring circuity on the four outputs. Whatever you send to the output is sent to all four jacks simultaneously, with no software delay
PO 33 and 32 seem tres cool.
and...
there's this little baby
Arturia PolyBrute 6-Voice Polyphonic Morphing Analog Synthesizer
a mere $2,499.00
😈 😉
61-key Analog Synthesizer with Brute-series Oscillators, 2 VCFs, 3 LFOs, 3 Envelope Generators, Modulation Matrix, and Onboard Effects
Thank you so much. Now here’s the real stupid question. I have been using nothing but “real” instruments my whole life. I have take a dive in synthesizers a whole lot over the last 20 plus year I’ve made music but, how do I get these to sync with my iPad? Is there a midi sync box I need for the iPad? Lol yeah now I feel stupid.
Part of why I was looking at unosynth... sorry if I sound lost. It’s late over here.
How do I find the key of my song?
Find the 'home' note (baseline for your bassline) then figure out if it's major or minor.
Pop fact: the Prince song 'Kiss' doesn't have a bassline (and it's in A Major).
Interesting. Thank you. Aaaand how do I know major or minor?
I don’t think the questions in this thread are that stupid, or am I being thick?
This one might take a tiny little bit of ear training. Not too much. There must be loads of YouTube help out there.
Here's one:
Major and minor tend to feel quite different. In broad strokes, Major keys are happy and well-adjusted, and teach children to sing on windy hilltops, whereas minor keys drink gin, read philosophy and feel pain.
Here's a great list, from long ago:
https://wmich.edu/mus-theo/courses/keys.html
Lucy Tiseman! Takes me back.
This is a safe space, is all
CMD-J only joins the clips together. If you freeze the tracks (track context menu), Live prints them to audio into the project folder. If you aren’t planning to make any more changes to the midi and automations, you can then choose ”flatten” from the same menu as freeze, this turns a midi track into an audio track with all the track effects printed in. It won’t work with sends, though. You’re out of luck with those unless you record their output to another audio track manually.
Ah, good knowledge! I sold my Live license a little while back, so a bit rusty these days, but I knew the answer must be in printing to audio somehow. Appreciate the finer pointers @Stiksi
Another stupid question, before I research for than 1 hour: can i play geoshred with its swan sounds from my yamaha montage???
I’ve decided to make people need help!
You should be able to sync using any hardware synth you have as either the master or “follower” of a soft synth or DAW. Specifics vary...
in AUM:
I always had this half-formed thought in the back of my mind that always confused me when thinking about compressors vs overdrive/distortion:
On the one side: Compressor/Limiter/Brickwall-limiter/... On the other side: Overdrive/Distortion/Clipping.
Aren't these the same thing, just on a different time scale? Like, in principle, if you had a compressor and its attack/decay would be set faster than the period of your sound signal (faster than 1/20kHz or so), you'd have an overdrive? There was a thread here a few days ago where someone explained compression with the image of a small gnome sitting inside the effects unit, turning down the volume knob every time the input level was too high. If this gnome was very very fast, fast enough so that it could see the individual oscillations of the signal, it could turn down the volume only for that part of the oscillation when them aplitude is bigger than the treshold.
Isn't that exactly what happens when you amplify a signal with tubes? (nonlinear something something?)
That description is pretty accurate. Essentially, most "distortion" / "overdrive" type effects just have a "mapping curve" that maps the input amplitudes to output amplitudes. If this curve is a straight (diagonal) line, then there is no distortion.
Good description and examples:
https://www.perfectcircuit.com/signal/learning-synthesis-waveshapers
The big difference is that a waveshaper is time-indifferent, i.e. it doesn't have any "memory". It always only acts on exactly one sample (and doesn't know about the last or next sample), while a compressor has "memory" and its "mapping curve" depends on past samples (and with lookahead, future samples too.)
There are different types of distortion. I think what you're referring to is "clipping" or "soft clipping". While compressors may do varying degrees of soft clipping, they mostly handle their job more transparently than that. If the gnome is turning down the volume, the wave peak (should) remain basically the same, so there should be little distortion. With clipping distortion, the gnome is instead whacking the top off of the wave shape, leaving a squarish top rather than a peak.
The way the top of the peak is handled determines the character of the distortion. It can be just whacked off (hard clipping), rounded somewhat (soft clipping), folded over (folding), etc.. When a compressor or limiter introduces any of this distortion, that is usually referred to as the "character" of the compressor, but it's usually only a small amount.
That's a vast over simplification, and only gets into the overlap between compression/limiting and distortion. There are lots of other kinds of distortion that don't fit as well into that description.
If you chose the pocket operator, you could also go for a few effects pedals and line them up behind the PO, and there would still be some budget left
I'm having a lot of fun with the PO-33, I guess it's the most versatile of the bunch.
Thanks, that's a good way of looking at it. That link is also super interesting
My question was, if you turned attack and decay of a compressor down, down, down, until below the time scale of individual sound oscillations, did you just turn your compressor unit into an overdrive unit? If this modded compressor had a very high compression ratio it would produce hard clipping and if it had a lower compression ratio it would produce soft clipping/tube like behavior?
You're probably running into memory limitations, but it could also be bugs in the DAWs, they haven't updated their Audiobus SDK, or even iOS version issues.
Basics to reduce these issues:
That last one is something I do after any session involving IAA or standalone, and I'm absolutely convinced that it's the main reason I seem to have so many fewer problems with audio apps than many other people.
I have a question about hard oscillator sync and pitch that has been bothering me.
If you look at the first graphic on this page:
https://www.keithmcmillen.com/blog/simple-synthesis-part-7-oscillator-sync/
Let's say I run the main oscillator at 100 hz, and the slave at 200 hz. Clearly the slave doesn't get modified and I get 200 hz when listening to the slave. Likewise, I get 100 hz out of the slave if I run it at 100 hz.
What happens when I do as in the graphic (let's say I run the slave at 120 hz)? Why is the pitch exactly 100 hz?
Is this very different if I zero out the right hand side (the "cut off copy" of the slave to the right during each main cycle)? I think that would then result in a somewhat softer 120 hz signal (softer because the amplitude is the same but the duty cycle is not 100%), or is that just wrong?