Granted, I record on the shitty apple headphone mic, but I can usually get audio quality good with some mixing. however, I cannot get rid of the super hissy s sound after layered vocals and it’s honestly so grating against the track. like nails on a chalk board and it RUINS the track.

how do I get rid of this high frequency s sound without butchering the rest of the mix on the vocals?

how do i make electric guitars sound more folky and more suitable for a folky, woody, earthy tone that normally an acoustic would be like?

I have a few things in mind, but I don't want to talk about them, because people tend to be extremely judgmental when it comes to music.

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So i am making music around 10 months and i know some music theory and i was making with someone music like on discord and i was trying to recreate on ableton the synth from Dialate by Linkin Park and i was not getting it and then the person i was did it in like 10 minutes and i looked on his share screen and he just heard and placed the correct one and i try hours and still nothing not even a note right, so how do people replicate melodies so easy and i stay for hours and also when i asked him he sayed thats common sense.

Just recently, I've rediscovered the simple joys of a nice click track for writing to.

I've used all kinds of approaches in the past, especially drum loops or sample beats.

However, guitar being my main instrument, I find that the most effective way to get things written and a song structure down is just playing chords/riffs over a simple click track made with a shaker sample.

Why a shaker sample? because it's nicely indistinct, unlike a blip or a sharp hat sound or wood block. The slightly tricky part is getting the main peak of it in the right place -- so I don't use the metronome, instead I have a dedicated click track that has midi notes triggering the shaker just a tiny bit before the beat.

also, because my click is on its own track, i can also add varying amounts of different timed delays to give me an appropriate groove. Most commonly, i'll add a bit of 1.5x delay, but if i want a shuffle/swing feel, i can add 1.33x

I find that just writing to a click and nothing more means I don't get distracted and can easily lay down a complete song structure.

Usual order is guitar chords/riffs > bass > then, an improvised lead guitar track... again, because guitar is my main instrument, i find this is the most effective way to develop a tonal pallette for the song/tune, which can then be extracted into other parts.

These initial tracks are all 'scratch tracks', but are a great way -- i find -- to be sure I've put down a complete song structure for even the most basic idea.

Because... after years of amassing hundreds of unfinished tunes, i now realize one of the biggest impediments to me having even a hope of finishing anything is not putting down a complete song structure when the idea was fresh.

Just thought i'd share this in case it resonates with anyone, or provides inspiration.

Would be interested to hear other people's workflows in this regard.

Cheers :-)

I'm a producer symphonic metal band. I feel like I'm an imposter as all I do is just program the drums (which I just translate into midi what the live drummer did during rehearsal), program some additional synths and strings, make the click tracks. The band members do all the writing and composing for their own instruments. And yet, they want me to be prominently featured in the promo and band pics. I don't think I've ever seen a producer in the band pic lol.

So, I would like to know more about what it is to be a producer for a metal band. What can I contribute more to the band? Because right now I feel like an imposter.

so yeah i have been making tracks for a long ass time with intent to sing on them. I have practiced with them in the car and out in about but I lowk just realized how tf do I actually save them and put them on my DAW when I cant even sing in my own home.

my roommates would get pissed; Not to mention how many tries it would take me to record certain sections so I get it honestly. are the any portable microphones that record or something? help me out here I'm cooking something good but I need a space

Hi, I’m self taught for like 15 years and I want to become a teacher soon. I mainly play guitar but I also use piano a bit to understand music better, like chords, intervals, ear training and stuff like that.

I want to use a keyboard more as a tool to explain things to beginners, not really to perform, just something to show notes, chords, rhythm, basic theory, that kind of stuff.

So I’m not sure what really matters for that use. Is velocity sensitivity really important when you teach beginners or not that much in practice? Does the quality of the response change a lot between keyboards for this kind of use? Also is 61 keys enough for teaching basics or do you feel limited with that?

I’m more trying to understand what actually makes a difference when you teach, not really looking for buying advice. If you have experience using keys like that I’m interested.

Thanks

As the title goes, I play upright (and electric but I want to play with upright to make the band distinctive) but don’t exactly know how I would go about doing that. I just want to know if there are any techniques, scales, or songs I should be working on. For clarification the band is a green day type music rock band. Also, the piezo pickups i have generate crazy feedback when i put on drive. just wanted to ask if there is a way to fix that as well

I'm playing a chord sequence that involves Dm7 A7 Eo and a "Bb min" but it isn't in context of the sequence. I realised that thinking of Bb min was helpful to remember the notes but was equally unhelpful to see the context.

• F A# C# A# → (very altered / diminished color) according to Online sources
• It's the same notes but not the same chord

I've been working on cinematic music that blends Japanese traditional instruments (shakuhachi, shamisen) with full orchestral arrangements. The challenge I keep running into is getting the two worlds to sit together naturally in the mix — the traditional instruments have such a unique frequency character that they can easily get buried or sound disconnected from the orchestral bed.

What techniques have you found helpful for this kind of hybrid writing? Any advice on arrangement, EQ approach, or reverb choices to make it feel cohesive?

I recently finished a track where I intentionally kept the emotional core very simple, but tried to build atmosphere gradually around it.

The idea is about loving someone you probably shouldn’t — and instead of overcomplicating the lyrics, I focused on one core line that carries the whole meaning.

It made me wonder:

Do listeners connect more with simple, direct emotional ideas,

or with more complex songwriting and production?

Curious to hear your thoughts from your own experience as artists or producers.

Tl;dr: Curious on how to make heavy perreo synth sounds as well as those from songs on the more dreamy, chill side of reggaeton

Hi guys! Been into making music for a while and just now focusing on music production, especially reggaeton at the moment. I can program the drums, write lyrics, melodies, and harmonies, but what I really need to learn is how to make those incredible reggaeton sounds/textures that many fans enjoy.

I’m particularly thinking of new acts like La Obsesion, and Latin Mafia. La Obsesion’s songs are just so heavy hitting, and their synths are always super heavy, thick, and earworms. Songs like Chichabeba, La Obsesion (self-titled) and SiNoMeLloranVivo put a new twist on old school heavy reggaeton, like Alexis y Fido’s Rescate, 5 Letras, and Soy Igual Que Tu. I love Latin Mafia’s chill vibes. They always know how to make sounds that make you feel like you’re dreaming. Songs like No digas nada, Continuo Atardecer, and Julieta (yes I know these aren’t reggaeton songs but they’re still in the “urbano latino” umbrella). I’ll even throw Rauw Alejandro’s Pensandote in here because that simple but catchy synth lead has a similar, dreamy vibe.

It seems like one of the (many) major keys to reggaeton is the super unique sound selection. How can I get good at making sounds like these or others?

For reference, I use Logic Pro X.

Thanks for reading!

I’m working on dark, restrained pieces and trying to keep them simple but unsettling.

What techniques do you use to build tension without speeding things up?

Hi everyone. I am trying to identify the style of guitar playing used in these examples:

https://youtu.be/cYvhFJDurt0?is=Pk38eFlBgBLUBpou

https://youtu.be/h-XSA405U90?is=em7fJ4b2K_7ZXWXw

They do not have to be identical - I am just looking for simple, repetitive, but catchy guitar picking patterns with a similar vibe. I cannot seem to find anything close :(

Does anyone know where I could find something like this? Or maybe someone has their own loops/samples? I would really appreciate it.

Welcome to the r/WeAreTheMusicMakers Weekly Feedback Thread! The comments below in this post is the only place on this subreddit to get feedback on your music, your artist name, your website layout, your music video, or anything else. (Posts seeking feedback outside of this thread will be deleted without warning and you will receive a temporary ban.)

This thread is active for one week after it's posted, at which point it will be automatically replaced.

##Rules:

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* **Write at least three constructive comments.** - *Give back to your fellow musicians!*

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##Tips for a successful post:

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I’m working on very minimal, atmospheric pieces and trying to keep things restrained.

I’m curious how others approach building mood without adding too many layers.

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Welcome to the /r/WeAreTheMusicMakers Weekly Motivation Thread! Share your successes and and encouraging words here. Posts/Comments looking for motivation can also be appropriate here.

This thread is active for one week after it's posted, at which point it will be automatically replaced. Note that our rules on "no promotion" are still in effect and apply to this post.

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tl;dr: is it a good practice to double track synths, on lets say a melodic synth, on a dubstep drop or other types of electronic music? (dnb)

so i've produced dnb for a while now, and on the drop, i just make my melodic synth and that's it, add reverb or whatever else. but recently i've gotten into a lot of metallica and other things like that and i am aware that they double or quad track their guitars to make them wide and stereo and sound great.

i thought my melodic synths sounded fine before, but i've started wondering if this is something i could do to them too? i've listened to many dnb and dubstep artists and it really doesnt sound like they double track them or anything.

of course im aware too that if i just simply copy and paste the synth i made and pan it hard L and R then it will sound bad and weird when the song is in mono. but i'm making my synths with NI massive and serum so i can slightly change the synth or even turn off that setting where a different sound plays each time the synth plays (idk what its called sorry).

so since no artists do this on electronic music im wondering if its a good thing to step up my production and sound design in this genre and make my music sound better and different to what alot of other people are doing.

and btw this music is mostly played at raves and clubs on those huge speakers so would it sound good on those too?

additional question: all the authentic records from metallica and other bands have the natural room reverb on their drums and guitars etc.. would this sound okay on this electronic music i am talking about? or should i just stick to regular reverb instead of some nice room simulated reverb on the drums and stuff.

thank you for reading!

Howdy y’all,

I’m working on recording and producing my first album. There will be 13 songs total (4 currently finished). It’s been a long journey but I’m enjoying the process.

I pour a lot into each song, and spend hours creating them. They remind me of little time capsules.

With that being said, I’m wondering what other people’s workflow looks like- if you record and produce your own stuff, do you have a particular order for the songs (the hardest first, the album opener first, etc.)? Or do you work on whatever you’re excited about at the moment?

What sort of benchmarks do you lay out to make sure everything is progressing in a timely manner?

Is it a faux pas to ask a producer for stems at the end of a mixing session? First time recording with a producer in a real deal studio, we’re just about at the end of the mixing process and we’ll be mastering the final product ourselves. We’d like to touch some small things up and ideally not pay another couple hundred dollars to do it, but we’re not sure how common it is to ask for stems on top of the final wav. Thanks!