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I really wanna learn more about bass design. I feel like I can make some nice sounds but they're all kinda in the same ballpark and I keep hearing these absurdly cool sounds in other ppl's stuff and like, fuck I wanna learn the science-y stuff behind how to create different kinds of effects and timbres cause sound design is so fucking interesting honestly.

Based loosely on the results of Eliminate's "hyperpop speedrun". I thought it sounded fun. Pulled some random vocal recording from one of FL's demo projects for it.

I have no idea what I'm doing lmao

Feels kinda nice creating a new 2022 projects folder and creating the first file in it :)

4h47m. Finished the drop so could use this in a set or something now ig.

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πŸŽ‰πŸŽ‰πŸŽ‰ Released πŸŽ‰πŸŽ‰πŸŽ‰

Oversky

Something vaguely tangentially related to hyperpop in some places, but more importantly: loud noises for your ear holes :)

Enjoy! <3 :boost_ok: :boost_ok: :boost_ok:

miraonthewall.bandcamp.com/tra

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Most of these are basically an exercise in "how much can I turn down the compressor before the crap mixing starts to show?" lmao

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This is also proving to be an excellent excuse to clean up all the mastering blunders, so I've been updating a number of the audio files on bandcamp so overall they clip less, have improved dynamic range, and better handling of stereo separation at the bottom end.

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Currently going through my whole 2021 projects folder and pulling out as many flacs of passible bits of music as possible to try and construct some kinda compilation/set out of.

I wonder if there's any potential merit to writing music in a tempo that's a sub-harmonic of the key it's in, e.g. with A=440 you could write a piece in Am at 103.25bpm which is 1.71875Hz or 8 octaves below that 440.

I guess there'd only be any real use if you're having stuff playing at speeds on the boundaries between "lots of fast notes" and "one really low note" cause then it'd all line up super nicely.

I used to put iii, ii, vii, v sequences of notes in a lot of my music, like going back nearly a decade. Now though I tend to make it iii, ii, vii, iv cause I like setting up jumps and then jumping further than expected.

Also I've been putting this little pattern in a lot of things: iii . iii ii . ii vii . vii i . i v . vii v

πŸŽ‰πŸŽ‰πŸŽ‰ Released πŸŽ‰πŸŽ‰πŸŽ‰

Oversky

Something vaguely tangentially related to hyperpop in some places, but more importantly: loud noises for your ear holes :)

Enjoy! <3 :boost_ok: :boost_ok: :boost_ok:

miraonthewall.bandcamp.com/tra

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I'm on a roll! I think today's the day we get the December release and achieve 1+ releases every month this year holy shit

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6h52m.

I made a drop but accidentally made the original bit sound really pathetic in comparison lmao. So as I build up the arrangement I'll need to make sure to have very low-energy sections before both to maximise the impact of each to prevent the drop just destroying the impact of the chorus.

I deliberately ordered them in this export to demonstrate the effect.

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4h14m. Made a 2nd little bit.

Trying to decide if adding incomprehensible "singing" would be a good idea, cause at the moment there's no particularly strong melody going on.

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This week in "things I learned that my useless egotist of a music tech teacher literally couldn't have been more wrong about": listening volume.

When mixing, turn it up so it's loud but not uncomfortably so. Your hearing has a flatter frequency response at that volume, and if it's quieter then you risk falling into the trap of just repeatedly turning things up.

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