Yoozer

The reason to buy new is so you have the guarantee that they have no history - no dented cones, no blown amps, not driven beyond spec. Test them with a sine sweep and listen for noise and distortion. Monitors last quite long - the main reason to sell them is to upgrade to something better, not because they stop working. If you say "just $280" - why is he selling? Have you compared prices on eBay or Craigslist?

Analyzing the structure will reveal things that aren't obvious when listening; especially when you compare the results of each analysis. It will have to sound like other works in the same genre to fit in in the first place. Even the material that breaks the rules/does something revolutionary still has to obey a good number of rules. Focus on one thing at a time; I'd recommend trance first as certain subgenres can be a bit more formulaic, allowing you to get a better grip on it. Making it stick depends first and foremost on getting the "hook" and the structure right. Without that no amount of trickery is going to help you.

http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/252483-best-produced-electronic-music.html I didn't feel like typing. Personal votes go to: Sasha - Airdrawndagger Aphex Twin - Drukqs BT - pretty much everything Prodigy - Music for the Jilted Generation Boards of Canada - MHTRTC / Geogaddi

This is a really weird question. You have everything you need already, but you don't mention anything about monitor speakers, an audio interface, a controller keyboard, or knowledge of music theory. Why not? Why would you leave Massive on some external harddisk doing nothing? Use it, it's bloody awesome. Sidechaining is an effect; you apply it when you feel like it. It can be a lazy solution for something, but there generally are better solutions. However, none of this is going to be useful if you can't recognize the problem or don't know what it's supposed to solve in the first place. Anyway, this is the wrong approach. Completely lopsided. You're looking for technical terms and one-liners to throw around as if they're just a bunch of LEGO blocks that you have to chain together to get a track. Don't. It's cargo-cult engineering and production. Just start with the following: study existing songs that you think are representative. Draw a chart - use paper with a 5x5mm grid. Everytime you hear 4 kickdrums in a row - that is one block. Draw the structure of the track - when does the bassdrum come in, when does the bass come in? It does not matter if you have no idea what the instruments are called as long as you are able to discern them from the rest. Re-listen the track for every instrument until you have a diagram; said diagram won't look that radically different from what you're going to throw together in FL Studio. But don't do this with one song; do it with a dozen, both 3-minute radio edits and 7 minute 12" remixes. Study the tropes; at what points are instruments added/taken away, where do any transitions occur, what do those transitions consist of (there are lots of variations from filtering to turning up the reverb mix to dropping the volume of certain instruments to rolling snares or fading in white noise). When you have studied these works you may get a better understanding of what makes a track good. You'll be able to identify common elements and cliches (aforementioned white noise/snare rolls). You can't leave this to someone else: do it yourself. Also, order http://www.samplemagic.com/products/prod_b1_secretshousemusic.html - it doesn't matter that it's house and not trance/techno. What you learn with this book can be re-applied.

Triple pitch-shifter. Copy your original vocal line several times, make sure each clip is time-stretched and turn the pitch n semitones down as if you'd be making a chord. Bonus points if you let the pitching up/down slightly follow the pitch of the voice itself. This should be peanuts with something like Melodyne. edit: before anyone asks: "how was this done before Melodyne because the effect occurs also in earlier games?" Well, with something like this: http://www.primalgear.com/eventidefx006.html These have pitch-shifting algorithms, too.

Is it a pop song? That's usually: intro verse (verse) chorus verse chorus bridge chorus outro Those do have the advantage of lyrics, however - so then it's not that strange that parts are repeated, since they differ by default because of lyrical content (and usually melodic content). Generally, your song tells a story. What parts do you repeat in a story? Take a fairy tale as an example: when the hero has to solve three similar quests (a common motif), then the parts may resemble eachother. When the hero returns after a quest to the place he started at, the motif may be repeated, though altered, to combine familiarity with growth/learning/maturing - while the middle is something entirely different. What kind of story are you telling? If you're just copying to stretch the length you're not going to go far, really. Post an example in the WIP forum - which is meant for this kind of criticism. Specify that you're looking for help on the topic of song structure so you'll get useful comments.

Yup. Thanks to the Kore browser it won't listen to MIDI Program Changes and there's no way to make it flip between presets - so that's the only way. It would've been better if the entire list of presets was just exposed in default .fxp format with the browser only making parts of the huge list invisible, but alas.

There's nothing wrong with the one in Massive and if you try to imitate Skrillex please stop right now before someone has to call 911. edit: also don't bother buying Reaktor, sell your Massive license and go for Komplete straightaway, it makes no financial sense to do otherwise

You've updated to v 2.0 that was published recently? Can't listen to it atm but tried disabling the convolution reverbs?

your microphone picks up noise. Try it. Hook a mic up to your audio interface and make no noise and turn up the volume. It picks up electrical interference and all kinds of noise. Mixers do this too. It doesn't happen when you generate sound completely in the box or use digital outputs of equipment that has it, but for pretty much everything else, you get noise. That has nothing to do with signal/noise but with the dry/wet ratio of effects. Getting rid of noise transparently can be done by just cutting the offending sections out completely. Then there are people who add noise back again to their recordings - aforementioned in the box strategies may sound too sterile.

Your.Imagination.5.02.R!PPED.BY.AiR.FiXeD.rar.torrent (size: 1.21 GB)

Komplete 8 because it spans a far wider range of instruments. Reaktor in there is already essentially a whole load of synths for free - and an actual synthesizer, not a front-end for a sample engine. Plus Kontakt 4 opens all kinds of doors - as far as I know (and I could be wrong) there are no third party developers for the Play engine so you're stuck with what EW offers you. I have K7 now so of course I'm biased - it's also cheaper to upgrade for me. But I won't upgrade to Ultimate; Komplete 9's upgrade would have an unpredictable cost, and the upgrade is too rich for my blood.

In that case start with Massive first. As you can hear in http://soundcloud.com/adamszabo/adam-van-baker-massive it covers a lot of ground on what Sylenth1 does.

As always: what do you have at your disposal?

Just a small point that may help you in your search: you're looking for a digital piano. People suck in distinguishing between "electric" (amplified) and "electronic" (generated), so by using the term "digital" it's obvious that it's well, electronic, and the word doesn't look like "electric" too much (which would net you results for Wurlitzer, Rhodes or Yamaha CP70/80 pianos). Whatever you're going to get as advice: test it yourself if possible. The keyboard feel of a piano is very personal; too heavy or too light for your taste and you're not going to enjoy it. Furthermore, also look around for secondhand deals. The P90 is discontinued; but because piano evolution is so slow, it's usually a repaint and a model number increase. Get http://www.amazon.com/Yamaha-P95B-Digital-Piano-Black/dp/B003KVKSYY/ The most radical innovations like physical modeling (Roland V-Piano) always come first in the most expensive models, and those are outside of your budget range anyway. I've got a Roland FP7 myself because I thought the keys felt better than the Yamaha models around the same price - but again, that's a matter of taste. Can't help you with the drumkit, though.

There's no reason to keep hanging on to a tradition that works in the real world if you're suddenly dealing with a screen instead of the real world. If you mean that the knobs don't look like knobs but rather like brightly colored circular bars - that's good, because it gives a far faster visual indicator of the value of the parameter. Because of its possibilities. Sylenth - while it sounds good - is limited in terms of synthesis. Zebra isn't.

Neither. Go for http://tone2.com/html/gladiator_2_vsti_au_synthesize.html or http://www.synapse-audio.com/dune.php Vanguard is old. Sylenth hasn't been updated in ages. The two mentioned above are more capable and cover all that Vanguard and Sylenth1 do - and do a lot more.

if you use ableton and have attack problems i feel bad for you son i've got 99 problems but a clip ain't one

Why not batch convert to mono with Audacity or something?

This does not bode well for my upgrade plans

What motherboard do you have? PCIe comes in several flavors - and the new 0404 only requires a small (1x) PCIe slot instead of a full-sized one (16x, which your graphics card requires). If you have multiple PCIe slots, the smaller ones should be located at the bottom of your motherboard.

y yes, i (c: what u did thar

Just scored Emotional Piano. As for the download utility: it expects the folder you want to download the files in to exist, so don't be stupid like me and stare for 5 minutes at the app that will jump back from "Queued" to "Paused" because there was no D:\Tonehammer yet. (the servers are probably getting hammered, but not that badly yet).

On the other hand it's kind of weird to think manufacturers would still sell any audio interfaces at all if they all crackled like that. I mean, RME is selling USB audio interfaces, and they're not small either. The professionals skip Firewire too. MADI is where it's at. Hopefully Thunderbolt/Light Peak will end all this crap with picky chipsets (because that's the downside with Firewire) - in terms of speed it should pretty much blow both away. For prosumer purposes that'd be pretty neat.

Snappleman is of course completely correct - at the back of those PCI audio interfaces you have a break-out cable with 1 MIDI I/O. See http://www.m-audio.com/products/en_us/Audiophile2496.html shows the break-out cable. What I suggested (which turns out to be not necessary after all, then) was http://www.emu.com/products/product.asp?category=610&subcategory=611&product=15188 The audio interface is just a PCI card that you install in your desktop. Switch it off, remove the case's cover, look for a free slot, put it in. Install drivers, and then, in Reaper, choose "E-mu ASIO" or "M-Audio 2496 ASIO" in the driver list instead of "Windows Audio Driver" or whatever it's called. Then, hook up the keyboard's MIDI output to the computer's MIDI input, and you're good to go! But while you haven't bought that, you can install the ASIO4ALL driver. It's kind of a stopgap solution because it won't give you MIDI I/O. Why is this important? Well, audio in your computer goes through various software layers. Each layer is put there for abstraction purposes to make programming easier. It also adds a time delay, called "latency". That means with default drivers it may take up to 100 ms (very much noticeable!) for the sound to come out of your speakers after you hit the key. Play more notes and you start to hear crackling sounds because it can't keep up. ASIO allows direct hardware access; ASIO4ALL allows this almost but is not optimized for specific audio hardware. So, it's not like a graphics accelerator for games because your CPU still has to do all the work, but it shortens the path so you get say, 5ms of latency, which is a whole lot better. Plus, you get more and better inputs/outputs than on-board soundcards offer you.