SnappleMan

Phase is not a matter of angle, phase is a matter of time. When using two mics on an amp you need to make sure that they're either all as closely in phase as possible (this means both mics are at an equal distance from the speaker) or they're far enough apart that you're not in danger of getting too much phase cancellation. A few typical two mic setups are: 1. Mic A pointing dead center of the speaker, mic B pointing towards the cone. 2. Mic A pointing dead center of the speaker, mic B pointing at the edge of the speaker. 3. Mic A dead center, mic B at a 45degree angle. For all these setups I would typically keep the mics right up against the grille of the cab. The only reason I move a mic back is whenever I want to capture more of the room sound (how the amp sounds in the room you're in) and when I do this I make sure that it's AT LEAST one foot away from the other mic so that there's enough of a delay to minimize the phase cancellation. So in all you want to either minimize the time that it takes for the sound to reach both mics (by putting them as close as you can), or increase the distance so the sound won't phase out. The key is to move both mics around until they sound right to you. Always trust your ears.

Budget is important, but if the person you hire is into your idea and is on the same page you'll end up with a much better product in the end. That's not to say you don't get what you pay for, but the first thing you should do is contact some artists you like and pitch your idea (and budget) to them.

I use it and love it. I encode all my wavs in BRR format before I load them into it though.

You generally want to be careful with AMD CPUs. They have much higher clock speeds in order to come close to intel performance (which they still do not). This means they run much hotter, and when running a DAW for 8-12 hours a day you'll be subjecting your machine to constant 100% CPU throttle and max temps for long periods of time. This definitely degrades the life of your CPU and motherboard (if only a tiny little amount, but it can add up over a couple years). For DAWs I prefer Intel CPUs, they're just better suited to these types of workloads (and are much more powerful overall), but AMD can definitely give you great performance too. As for memory I always max out my motherboard. Neither 24, 32 nor 64gb is overkill for anything. You have a 4, 6 or 8 core machine that can handle tons of tasks at once, so you'll need ample ram to keep up. Maybe someday you'll want to start recording audio into your projects, and loading up 24 or more tracks of 48khz 24bit audio into a your DAW will definitely start eating up your memory (unless you want to be brave and stream all your audio from disk). And regardless of if you plan on doing 100% electronic music or not, eventually you WILL be curious about big drum and orchestral libraries, and those can easily add 2-6gb or memory load per instance into a project. As for the hardware workstation VS software, that really comes down to how prepared you are to perform live and how interested you are in learning a hard synths patch structure. The value in a hardware workstation really comes from devoting time to learning it, and they are VERY complex. My suggestion to you would be to go for the VST and use some of the money you save to get a MIDI controller keyboard.

A collective butthole is what happens when people on the internet start believing that their shit smells better than someone else's and start arguing over pointless bullcorn. This is compounded by knowitall type behavior (the kind that's brought about by wikipedia+google and not actual experience) and it almost always involves people between the ages of 17-23. As far as the creative process goes I don't think it's something that can be measured in a linear manner, and what it always seems to come down to is what happens when the controlled environment breaks down. What that means is that you can have the most calm and organized workflow going but it doesn't really measure properly until you're given a set deadline and have to work your ass off to make it. It's when your balls are on the fire that you start pulling out your go to plugins and leaving half eaten plates of food around your work area and really that's when you see how your workflow has evolved. Everything ties into the old adage "If it ain't broke don't fix it." I have a "pro" rig that consist of Cubase 6.5 and Pro Tools 8. My "real" rig has Cubase 7.5 and Pro Tools 11. The reason is that all the new software and hardware I get needs time to become familiar, I know how to fix any errors in the pro rig within a few minutes, the real rig not so much. I can take the pro rig on a gig and know it'll work and be solid, and as soon as I feel like the newer rig is at that level of stability I'll switch it out. From my experience I've found that when people talk about their process they'll be unaware of how fickle they are. Changing software and hardware every year or two, not giving anything the respect of being properly learned and explored before moving on to whatever the hype machine is selling. So yeah, my process has evolved from being someone like that to someone who buys one thing and learns it inside and out, be it software or hardware and sticks with it.

I've been making music while you people have been bickering for 8 pages in this thread. My process just evolved balls deep into your collective butthole.

I still can't get used to thinking of people born in '86 as grownups! But I was born just a few years before that in '81 so whatev.

Just as in lovemaking, I try to keep my musical process fresh and exciting. If I don't get a musical erection then I'm doing something wrong.

Good post. <3 I think that's a great example of what makes a decent melody. To some people who don't get theory that might be confusing but all you have to do is listen to the song and it'll make sense to you.

Well the matter is are you really going for dissonance or is that how the melody sounds to you? It's assumed that a properly written melody sticks to an adequate scale that matches the chords, but I think all that really counts is the beginning and the end of a phrase. The middle can be anything you want and it'll still make sense as long as it resolves properly. Douhecbag I bet you read that as douchebag. Visual word recognition is the concept that you can read words (in English at least) correctly even if their middle letters are jumbled. I hear music in the same way.

Actually I don't think it's getting OT. What you said presents a good argument with regard to melody. How much of it is actually in the bass? And is it a bass players job to support the melody or the progression? Ask yourself this: Do you get more of a melody when you hear just drums+bass or drums+chords? And how much of the bassline is rooted in the melodic movement? Progressive and even some metal music in the 70s and 80s had bass players putting tensions in the bass to support the harmonic movements of the melodies and not just sticking to roots. I don't think there can be a discussion about melody without going deep into the context of the rhythm. I could say that the melody for a song is A D A A E G but without the rhythm it has no context of movement and therefore no "melody".

You say that as if him being a bass player should discredit him as a songwriter or musician.

Well I noticed that all the intuitive virtuosi that I looked up to as a kid all eventually have a moment where they'll say in an interview "Yeah I thought it was about time I taught myself some theory to blahblahblah". It doesn't matter how intuitive you are, after a while you're going to start reaching limits you didn't know you had, and then it's time to expand your brain.

Wasn't this thread supposed to be about melody writing techniques? Stop arguing over jazz theory like a couple of second year music majors! You don't need to read music in order to write music, but if you limit yourself to 100% feel and intuition you become a slave to your repertoire and habits. Conversely if you don't explore the benefits of feel and performance you become a slave to the rules of harmony and "mistakes" of improper voice leading. In both cases you doom yourself to melodic repetition. Also, Paul McCartney has always had the benefit of working with either other band members (Beatles) or the worlds top producers (post Beatles) to straighten him out when he abuses his repertoire. As far as writing melody goes, I used to start by writing progressions and then playing melodies over them. This seemed like the right thing to do but it never sounded that great. It's not till recently that I've started writing melodies and then throwing the progression underneath. But really this is a natural evolution of my style because I've become so aware of chordal movements and progressions that I already know how a melody is moving and what it's meant to move over. It helps to be aware of tensions and dissonances, and the bass really plays a more important role than you think. Study NES music and get a feel for what's really happening in only 3 channels of monophonic tones. The triangle (commonly used as bass) channel plays a dual role of reinforcing the root and applying crucial counterpoint when necessary. Applying this to polyphonic writing you can start trying to emulate that effect by having your bass play the chord progression (keep the root as a pedal tone) having the lead reinforce just the root and tensions, and having a third instrument playing counterpoint to the lead while avoiding the root and tension. "BUT SNAPPLEMEN IN MELODY WRITING YOU SHOULD AVOID TENSIONS AS THEY'RE USED TO REINFORCE SCALES AND CHORDS!" Shut up. You can do whatever you want in music. It comes down to experimentation, teach yourself how your brain works melodically. You can stick to traditional rules of harmony and melody and write incredible music, or you can deviate entirely and write incredible music. To me the key in melody writing is to understand the relationships between notes and registers and the concept of implication and reinforcement. That being said, I suck at writing melodies, it's the hardest part of songwriting for me, and I'm working round the clock to improve it.

I gotta second that automation comment. The two main reasons I use MIDI in my studio are connectivity and performance. Control hasn't really been an issue for me because once I learned how to use a keyboard and mouse (I was originally taught on analogue gear) I grew to like it very much. The only exception to this is when I use software synths (that's where automation comes in too), I have Cubase templates specifically for each softsynth that I use which lets the important controls be mapped through my master MIDI controller (filters, oscillators etc). Other than that my MIDI controlling is exclusively limited to automation (clip automation, volume curves etc). All my mixing is done via mouse and keyboard as well as my editing. Cool thing about Cubase is that they have an AI line of desktop audio interfaces (I have the CI2) and they have an all purpose knob that freely adjusts any parameter that the mouse pointer is hovering over in the DAW. I only use this on my mobile rig though.

"The sound data goes from his computer to the cloud" lol the cloud again. Cubase has been doing this since version 7, except Cubase also has live video feeds integrated so you can video chat while working together. I don't know how well any of it really works because I haven't used it. I don't have much faith in sending huge chunks of live streaming 24bit audio like that without a really fast and solid internet connection.

Well to be fair, Kyle, the last time we pulled this joke (tales project) was like 7 years ago. People forget.

Yeah contracts are crucial, and easy as hell to manage. As stated above, just write out the terms, fax it to get signed, sign it yourself, fax back a copy to verify that you both signed the correct contract, and you're set. Another thing that I found very important when I was starting out was to make sure my presentation was professional. The easiest thing you can do to immediately raise your cred and chances of rehire is to get a nice looking invoice! Google docs is your best friend here! A clear, concise and attractive invoice is gonna tell your clients that you give a shit, and that you're running a business and aren't just some dude with a laptop.

Any advice I give would vary depending on the goals of the person asking. If your goal is to just do this for a little while and move on, then you can just have fun doing it and not really take it seriously. If you want to get into music as a real passion and possible career, then you have to take it seriously. And by seriously I don't mean doing it 19 hours a day. You can spend a month digging a hole using a potato or use a shovel and get the same work done in a day. 1. Start learning music theory (yes it matters). 2. Start learning how to listen to music. This means trying to hear mixing elements and techniques like compression, panning, reverbs etc. Once you start listening to music analytically, you'll have a better grasp of how a mix comes together. 3. Plan your time out and stick to a schedule. If you don't do this then you'll really be wasting a lot of time. 4. Learn theory again! Yes it still matters! Put it into your music regimen. An hour of theory/ear training a day will make a RIDICULOUS difference in just a few weeks. 5. Practice your instrument (if applicable, and really it should be). Practice seriously because you need to eventually be able to play whatever comes into your mind, that way you can write music more clearly and efficiently. 6. Practice and learn using complete concentration. If you're trying to learn or work with distractions around, you might as well not do it at all. Eventually you'll know all that you need to know and you'll be able to work in most environments, but until then you need to make sure to devote 100% of your concentration to anything musical that you do. (there's a reason you can't talk during class). You can do things casually if you want, but the results wont be comparable. Whether anyone here knows it or not, each and every musician is at constant competition with his/her peers (be it mostly light hearted and friendly/supportive). No matter your skill level, there are hundreds of others at that same level who are working harder than you, and learning more than you are. Take your craft seriously and it'll pay off big.

Drum loops are great. So are recorded instrument loops and phrases. Use anything and everything in order to properly recreate the music in your mind. Don't get hung up on silly principles like "Oh I didn't program this loop myself" because most people listening to your song wont care. The less of the "process" that is evident in a song, the better received that song generally is, so if your song sounds more natural and flowing with a drum loop, keep the drum loop. Stylus and all other loop libraries exist so you can pass them off as your own. Once you buy a loop library you're entitled to use it and even make money with it. So yeah, if it's legal and it sounds good, get over your misguided principles and fucking use it.

I forgot a did a song on this. Get this shit done and released, for real.

I'm with Darangen. The guitar you have doesn't matter nearly as much as your ability to properly use an amp (or amp sim). Truth is, a standard strat is all you ever need unless you're looking to get into 7+ string tones (and even then you can just put B-B strings on a strat and get that sound). Study tones you like and train your ear to pick up the EQ curves and distortion levels.

To me it sounds like the problem might be you not learning things on your terms. You know how you brain works, the next step is you figuring out how to teach yourself. I don't mean being "self taught", I mean figuring out how to properly convert the information that you get from lessons, peers, videos etc into a format that your brain can absorb and hold on to.

I'll kill you.

There definitely are milestones which, upon completion, will reward you with a noticeable upgrade to your skillset. I've found that when you complete something big the increase in your abilities is primarily due to the extreme focus and concentration it takes to get yourself to see a project all the way through. For me personally it's a matter of learning from other people and teaching myself how to properly learn and practice. It used to be that when I would practice many years ago, I would space out and do repetitive pattern based finger exercises and ear training, followed by some light theory. But the way I (and most people I know) practiced was to just zone my brain out and let muscle memory/inertia take over, and I wasn't really concentrating on what I was doing. This didn't really get me far, or at least nowhere near as far as writing and recording a song would get me, and I realized it was because of the concentration involved in doing something musical as opposed to mindless practice drills. As long as you practice your craft (with proper concentration), keep making music and most importantly of all pay attention to what you're doing and how you're doing it, you'll improve at a steady level. You'll improve even more when you have a group of peers to compare and contrast your work against. The biggest jump in my abilities came as a result of the old VGmix2 workshop forum. I met a plethora of new people there who were much better than I was, and I made sure to open dialogues with them and really put myself in an uncomfortable position of being very harshly judged. It was a very brutal and honest experience, but it really got me to a level where I never imagined I'd be in terms of production, performance and composition. I also made some life long friendships there that continuously challenge me musically. Most important of all it gave me the perspective to see the massive gap between where I thought I was and where I actually was, which is a very humbling experience that I carry with me every day now. All of that really drove home the point that I wasn't "good", and that I could never get "good". It's all about doing the best you can with the tools and skills you have at any given time, so good and bad are relative and don't really apply. There are things you will do better than someone, and things others will do better than you. From my point of view I see myself as a novice. I've been serious about music for about 15 years now, and most of that time was spent feeling things out and testing the waters while trying to put out music that somewhat represents the songs in my mind. As I do more I gain a deeper perspective on how needlessly I overcomplicate the way I work and approach the process of making music, and the process is becoming more natural. TLDR: Experience is the only way to improve. Repetition is not experience (how long will it take you to get to LVL99 fighting the slimes at the beginning of the game?). Seek out new challenges and keep an open mind.