#Ableton Live (Software)

[089dj]

Die besten Software-Tools für DJs und Musikproduzenten

[vc_row][vc_column][vc_column_text]Software Tools – DJs und Musikproduzenten – In der dynamischen Welt der Musikproduktion und DJing spielen Software-Tools eine entscheidende Rolle. Sie ermöglichen es Künstlern, ihre Kreativität voll auszuschöpfen, komplexe Tracks zu erstellen und nahtlose Mixe zu gestalten. Ob du ein aufstrebender DJ oder ein erfahrener Musikproduzent bist, die richtigen Tools…

[ariyan24]

Ableton Live 11.3.10 Suite Download

Ableton Live 11.3.10 Suite represents the pinnacle of digital music production software, offering an unparalleled creative environment for musicians, producers, and DJs. This latest version builds upon Ableton's legacy of innovation and versatility, delivering a comprehensive toolkit that empowers users to craft music with precision and spontaneity.

Live 11.3.10 Suite offers a wide array of virtual instruments, effects, and sound libraries, allowing artists to explore new sonic horizons and experiment with diverse musical genres. Its intuitive interface streamlines the production process, making it accessible for both beginners and professionals. Live's Session View facilitates live performances and jamming sessions, while the Arrangement View offers meticulous control over your compositions.

This download includes a vast library of sounds, including synths, samplers, and acoustic instruments, along with cutting-edge audio effects. Additionally, the Suite version includes Max for Live, enabling users to create their own custom devices and expand their sonic palette even further.

With its continual updates and enhancements, Ableton Live 11.3.10 Suite is the ultimate choice for those seeking a dynamic, creative, and professional music production solution.

[munkedupmusic]

Just got access to Ableton Live 12 Suite. Future pitch ups are going to sound so much cleaner 🔥

[guitarbomb]

Recording Great Guitar Tones on a Budget

Recording Great Guitar Tones on a Budget, we show you some great free guitar software that you can use to get great tones.

In this Recording Great Guitar Tones on a Budget article, we will discuss some ways to get great recorded guitar tones without spending a fortune. The way to get huge guitar tones, with massive amounts of sustain and a sound that will make your guitar stand out from the pack.  Recording Great Guitar Tones on a Budget For the first part of this series, I’m going to share some links to free…

[digitalcreationsllc]

Ableton announces Live 12 release for early 2024 - DJ TechTools

Ableton’s Live 12 software is coming sometime early next year, according to a company announcement this past week, with a public beta expected to be available for users soon. The latest version of the software focuses heavily on MIDI tools and abilities, as well as an updated and more intuitive program layout. [embedded content] Key features The program comes with a swath of new features and…

[odysseyeurobeat]

A New Approach To Performances - Feb 2, 2025

(AKA, "What do you MEAN I can't use one MIDI controller for two programs at once???")

Many of you may know that I perform live! At conventions, at clubs and bars, and wherever else the world needs a dose of eurobeat, I've been performing my work on stage for many, many years now! Fewer of you may know that I've tried different approaches to my shows over the years— for a little while, I'd just play the songs end to end; then I learned how to DJ, and now most of my sets revolve around DJing.

Lately, I've been revisiting that, and trying to figure out new and more compelling ways to perform. For the last year on and off, I've been attending choreography classes. These have not resulted in me properly learning routines, but they HAVE boosted my confidence tremendously. As well, in the last few months I've dreamed up possible performance methods and workflows that are less DJ-centric so I can focus on singing, crowd interactions, the occasional novelty (maybe some keytar sections or playing a drum pad?), and some fun video effects.

Today I began putting that into action by trying out my various MIDI controllers, trying new configurations in Ableton Live and Bitwig Studio, and... failing. A lot.

It turns out, some of my ambitions of mapping multiple functions in two applications to one MIDI knob were a bit more ambitious than I thought they would be. Getting programs on the same computer to talk to each other is surprisingly more difficult than I thought it'd be. Getting Resolume Avenue and Bitwig to communicate worked, Avenue and Ableton surprisingly less so. And even then, getting one or the other to handle MIDI clock information in basic integer values has proven frustrating.

Instead of still trying to mix between two "decks" like DJs do, I may do it one of a few ways: * Pre-mix the set in Bitwig or Ableton, find "pause points" for water/audience interaction. I'd basically be performing to an automated experience, which would be easier to predict and work around, but with little to no flexibility. * Load in songs as clips instead of full-length audio, which would buy me back my cue points from the DJ years; but I'd still have to mix between songs, which increases potential failure points. * Find more innovative ways to use Traktor (my current DJ software of choice) and video/lighting programming, or pre-mix a few songs together and THEN load those into Traktor. Current performance method wouldn't change dramatically, but the overall visual appeal would improve. * Make shorter versions of my songs I play through from start to end, like a traditional concert. (Doesn't seem right, given the nature of eurobeat; but it's not far from what a few eurobeat stars do already!) * Keep pushing towards building a whole one-laptop visual audio extravaganza, restraints be darned.

...I want to see what I can do with some MIDI automation and video for now, with maybe one play-in "novelty" and automated vocal effects with some optional ones I can dial in any time. It'll be a bit weird to surrender some of my control over which songs play when, but I want to start building a more compelling, less DJ-specific live set where I'm a bit more of a performer. I think I'm onto something with this, though time and figuring out the tech will tell.

I'll be chipping away at it in the month(s) ahead. Who knows? If I get it ready in time, it may not be long before it gets a test drive at a real show! 😉

[jokkaproductionz]

**The Ultimate Guide to Producing Hip Hop Music: Hardware and Software Essentials**

As a hip hop producer, you’re about to embark on a journey to create the next big hit. To get started, familiarize yourself with the hardware and software tools used in the production process. In this comprehensive guide, we will cover the essential hardware and software tools, as well as provide tips on how to combine them to produce high-quality hip hop and rap tracks.

---

### **1. Hardware Essentials**

**1.1 MPCs (Akai Pro MPC Series)**

The MPC (Music Production Center) is a legendary sampler and sequencer that has been a staple in hip hop production for decades. The Akai Pro MPC series, including models like the MPC X, MPC Live, and MPC One, offer a myriad of features such as sampling, sequencing, and effects processing. These devices allow producers to create intricate beats and seamlessly blend samples with original material. **Tip**: Experiment with different sampling techniques to find your unique sound.

**1.2 Groove Boxes (Korg Electribe, Roland SP-404, etc.)**

Groove boxes are compact and portable devices designed for creating beats, sequences, and samples on the go. Popular choices among hip hop producers include the Korg Electribe and Roland SP-404. These devices often come with built-in sounds and effects, making them perfect for live performances or quick jam sessions. **Tip**: Use groove boxes for sketching out ideas quickly when inspiration strikes.

**1.3 Drum Machines (Roland TR-808, TR-909, etc.)**

Drum machines are fundamental tools within hip hop production. The Roland TR-808 and TR-909 are iconic machines that have appeared in countless hit tracks. Their distinct sounds can give your beats that classic hip hop flavor. **Tip**: Layer different drum sounds and tweak their envelopes to create a punchier kick or snappier snare.

**1.4 Turntables and Vinyl**

Vinyl records and turntables remain an essential component of hip hop culture. Many producers use turntables to sample and scratch records, adding a unique rhythmic element to their tracks. **Tip**: Explore various genres of vinyl records for sampling; sometimes unexpected sounds can lead to unique beats.

**1.5 MIDI Controllers (Native Instruments Maschine, Novation Launchpad, etc.)**

MIDI controllers provide a hands-on approach to controlling virtual instruments and effects in your DAW. Devices like the Native Instruments Maschine and Novation Launchpad are popular among hip hop producers for their versatility. **Tip**: Utilize pads for finger drumming to capture a more organic feel in your beats.

---

### **2. Software Essentials**

**2.1 DAWs (Ableton Live, FL Studio, Logic Pro, etc.)**

Your Digital Audio Workstation (DAW) is the heart of your production setup. Ableton Live, FL Studio, and Logic Pro are three of the most popular DAWs used in hip hop production. Each DAW has its strengths; for instance, Ableton Live is favored for its session view for live performances, while FL Studio is known for its intuitive interface and powerful step sequencer. **Tip**: Take advantage of the built-in tutorials and communities surrounding each DAW to enhance your workflow.

**2.2 Virtual Instruments (Native Instruments Kontakt, Serum, etc.)**

Virtual instruments provide an expansive palette of sounds for hip hop production. Software like Native Instruments Kontakt and Serum allows you to design and manipulate sounds, offering endless creative possibilities. **Tip**: Incorporate sound design techniques to craft unique sounds that set your tracks apart.

**2.3 Effects Plugins (iZotope Ozone, Waves, FabFilter, etc.)**

Adding effects and processing to your tracks is crucial for achieving a professional sound. Plugins from iZotope Ozone, Waves, and FabFilter offer tools for mixing and mastering your music. From EQs and compressors to reverb and delay, these plugins can help you shape your sound effectively. **Tip**: Use reference tracks to guide your mixing choices and ensure your sound fits within the genre.

---

### **3. Combining Hardware and Software**

The key to successful hip hop production lies in effectively combining your hardware and software. Here are some tips on how to do this:

- **Integration**: Connect your hardware instruments to your DAW via MIDI or audio interfaces for seamless interaction. This allows you to trigger sounds from your hardware while recording in the software.

- **Layering Sounds**: Utilize hardware samplers like the MPC to create base beats, and then enhance those beats using virtual instruments or effects within your DAW.

- **Live Performance**: Incorporate groove boxes or MIDI controllers during live performances to engage your audience and add spontaneity to your set. This can create a unique atmosphere and make each performance special.

- **Experimentation**: Don't be afraid to mix and match hardware and software. Use a MIDI keyboard to play samples from your MPC, or sample your virtual instruments on your groove box. The possibilities are endless.

---

By understanding and utilizing the right hardware and software tools, you’ll be well-equipped to navigate the world of hip hop music production. Remember, the most important aspect is to experiment, find your unique voice, and have fun while crafting your beats. Now go create your next big hit!

[vyl3tpwny]

Hello Vylet, I find your music inspiring to me. as I am beginning to get into music production myself. With that being said I find it very difficult to find a place to start and I don't really have a direction. Is there any advice that you could give beginners like me on trying to get a foothold in music? Like sources, or things that should have a higher priority in learning?

the thing i tell most ppl is to start learning with whatever interests you the most first. for example, if you rlly like drums and rhythms, start by experimenting with drum beats and programming stuff and performing things like that. if you really like the idea of arranging things into a song, get some loops and shit and just feel out how to arrange things. as you get proficient in one aspect, start throwing in more things that you're interested in.

for me, i really liked composing and arranging when i started. so i didnt care about how good the instruments were or how to mix anything or how to refine anything. i just focused on taking instruments, composing things with them, and arranging on a timeline. then i got super interested in sound design so i started to learn more about how synths ACTUALLy worked, and how to use effects to change things.

—

whats cool is you can actually find lots of old sample cd's archived on archive .org [just google archive . org sample cds]. so tons of free samples there. looperman is another classic sample resource. freesound also. you can pay splice for sample credits and u can have a certain amount of sounds for a monthly fee. but u can also just sample songs too. hey! you can sample my songs. that's always safe :3

—

i always find andrew huang's videos to be great for beginners

fact magazine has a great series called against the clock where you can watch ppl make a song in a few mins and observe workflows and ideas

even if u dont use live, ableton has some great videos and seminars on making music and stuff.

—

if you need a DAW, bitwig is available on rent-to-own so you dont need to commit to smth

and if you need some third party plugins, check out vital , ob-xd , klanghelm , and analog obsession for some cheap and free stuff. i say this everytime ppl ask for software recommendations but Vital is such an awesome free synth. i use it on almost every single song i make!!!!

also sylenth is one of my fav synths after over 10 years of using it and it's also on rent-to-own

everything on kilohearts is rent-to-own and i love all their shit too.

hope this helps a little bit!

[calscompositions]

Hey!!! From what I have seen, your music is really good, so I ask you. How do you learn to make music like that??? I want to make a game for my blorbos and I wanna know how to score.

aaaaaaaaa i thought i answered this sooner but i didn’t— sorry about that!

First of all, thank you for the compliment :D I'm not sure if this is a “what software do you use” question or a “i have software, now what do i do with it” question, so I’ll answer both.

I use Ableton Live 12 Suite for my music, but that costs a lot of money. My orchestra instruments come from Sonatina Orchestra (which is free!) or various soundfonts I got off the web and put through Sforzando (also free!) but i intend on upgrading soon.

In terms of how to make good music, this one’s gonna be a bit longer since the answer is less straightforward. There are a lot of variables to account for depending on what genre your music is in, what scene you’re trying to score, etc., but generally you wanna pick a starting point and build out from there. Once you’ve really settled into the flow of making music (which may take a couple of years, so don’t stress it if you don’t get it right away!) you might sometimes be able to envision an entire song in your head and know exactly how to make it, but I tend to start from a single idea. Sometimes that’s the pounding drums of a tense fight scene, a special melody related to a character, or even a specific pad to fill the empty space in a quieter song. I also have a very leitmotif-heavy style. If you don’t know what that means, a leitmotif is the term for when a certain melody accompanies a character or an idea— for instance, the Imperial March tends to play whenever Darth Vader comes onscreen. I tend to assign leitmotifs to all my major characters.

I’ll use the Aurora music as an example, since I’m assuming that’s how you found my blog. Vash, Kendal, and the Collector each have specific instruments associated with them: Vash has a triumphant trumpet fanfare, Kendal has a variation of Vash’s theme on the horn, and the Collector has an eerie music box tune backed by strings. Those three things were the starting points of the entire score, and will serve as major leitmotifs throughout any other parts of the comic I decide to score. I started with those melodies, then built the other parts off of them.

The comic’s score is treated more like a film score, though, and less like a game score, which is a fairly different entity. For a film score, you want the music to line up exactly with what’s happening onscreen in that moment. The music should be quieter and subdued when the characters are speaking and more prominent when they aren’t. For a game soundtrack, with the exception of cutscenes in some games, you can’t account for exactly what’s on screen at any given moment unless you throw in a bunch of different variations on the same track and program them to switch at different triggers (which i do love when games do that but it’s difficult to pull off cleanly). This frees you up to make a track with a coherent vibe the whole way through instead of having to interrupt your rhythm or melody for a cue.

If this all sounds like a lot, it’s because it is! Not because I actually talked about anything too complex but because I infodumped for three paragraphs straight. oops. BUT. Making music is a very complex process that has a lot of moving parts, and you’ve got to create it all from scratch. It may take you a while to nail! My old songs from 3 years ago are utter garbage (though sometimes I can still salvage the melody!) and every time I think I’ve peaked, 6 months later I go even higher and peak again.

If you don’t think your music is up to snuff, my recommendation is to listen to songs you like and try and pick them apart. What’s that cool chord progression in the buildup? Which drums does the drummer hit during his solo? Are those arpeggios in the back? What instrument is playing that melody? The smaller the touches you notice, the better— one of my biggest upgrades came when I finally learned what pads are for, even though you barely hear them in any song they’re in. Then hop into your DAW and try and recreate some of the things you liked! (don’t steal a melody though, at that point it’s copyright infringement lol.) It also helps to learn music theory, but not everyone can wrap their heads around that and it’s very much possible to be a successful musician with very minimal music theory knowledge. If you do want to try your hand at it, I don’t have any channels to recommend for basic theory education since I learned mine from actual formal lessons, but once you understand the basics, 8-Bit Music Theory makes great analysis videos on existing game scores and always leaves me thinking, “Man, I could do that in my stuff too! That’d be cool.”

Overall, this is a process that comes with time! Your first attempts at music will inevitably be bad. If you want to score your game, I suggest making some unrelated music first to figure out the swing of things, then once you feel confident enough you can shift your focus to the big project. And don’t be afraid to remake tracks later in development to reflect the growth of your skills! I’ve remade plenty of older tracks before and the amount of improvement is always insane. Don’t be afraid to make mistakes while you’re starting out!

wowie ok big rant. beeeeg infodump. thanks for your ask! sorry if this was too much •-•

[thornsofthefuture]

an interview with witchita — a talk about underground music, anxiety and corruption

today's thorns of the future guest is witchita, once an electronic/witch house artist, now a latin urbano artist from mexico. witchita has been in the scene since 2019, when he released his first ever EP called "untitled" through distrokid. the songs from the EP could be described as energetic, with a dose of experimentality.

[this interview includes strong language and possibly triggering content. viewer discretion is advised.]

thorns of the future: what was the first song you've ever made?

witchita: Witchita from my first EP, named "Untitled" I wanted it to sound like "Baptism" by Crystal Castles, obviously it doesn't resemble that song that much due to lack of expertise at that point, but I do like that the first song I ever produced did ended up in a official release of mine, brings a lot of memories and transports me to that time when I first started learning Ableton, and what's mixing/mastering.

thorns of the future: what are some artists that you really like?

witchita: Crystal Castles, Skrillex, Playboy Carti, Yung Lean, Noisia, Dillom, Snow Strippers, 100 gecs, are like some "big names" I tend to always listen to underground and local projects to know what's really happening in the scenes I'm interested. As a fun fact, the last album I've recently listened is "1" by "estratosfera" from Argentina, I've also recently listened to a band called "Garbage People" they're like "garage rock?" sounded cool too.

thorns of the future: tell us about your craziest live show experience.

witchita: I had a show in Villahermosa, in my home state "Tabasco" in mid 2023, that was one of the first time, playing a couple of new songs, and the response to them from the audience was amazing, I saw everybody connecting and enjoying themselves, at least this was crazy for me, and also hearing the feedback from them at the end was super uplifting, I know this isn't very "crazy" lol but it was for me.

thorns of the future: do you have any new planned releases?

witchita: Yes, there's three songs for upcoming releases, one is called "Olas de un ayer" produced by a friend called Rodrigo, that's a "nostalgic" song about my teenage years. I have another one at the moment called "Por Dentro" produced by Trillfox, that's resembles my anxiety and dumb ways to deal with it. The third one, doesn't have a name yet, but it's a "hoodtrap", that's more on some gansta shit, produced by me, and co produced by razorz.

thorns of the future: tell us about the riskiest or the dumbest thing you've ever done.

witchita: Trusting the wrong people back in 2018 led me to being in a vulnerable situation, caused me to not have any money for basic needs, damaged relationships with friends and family, not having a stable living situation, I had to crash friends couches, all of this while I was student, luckily enough I hustled enough to get out of that situation with call center jobs and side businesses and I'm okay since late 2020, shit was awful. When I released "untitled" in 2019 I thought I was going to die any day.

thorns of the future: if you could resolve one major problem on earth, what would it be?

witchita: War. I'm in awe that we're getting a genocide basically being streamed in front of our eyes, and no one's doing shit to stop it. I'm as dumb as the next guy about these topics, but I think bombing children is just wrong and evil. Although I don't think this will ever be resolved, we will see wars until the sun explodes.

thorns of the future: what's your favourite song that you produced?

witchita: HUMX, my latest single at the moment, it's a very simple beat that combines those Witch House elements with a Jersey and urban percussions. I've gotten feedback from listeners that this one's their favourite song of mine.

thorns of the future: what software do you use to make your music?

witchita: Ableton and I will never leave it, great for producing, great for playing live, my favourite producers use it, but to each it's own, FL Studio, Logic, even if you only have Bandlab, you can make great music, the goal is to have the purpose to create.

thorns of the future: what's the artist you'd love to collaborate with?

witchita: Like, DREAM collab, shit, Skrillex, 100gecs, besides that, I'm really almost open to collaborate with any artist that it's "outside" the box, that might have some cool or fresh sounds going on.

thorns of the future: what's the artist you'd never like to collaborate with?

witchita: I wouldn't like to collaborate with artists that don't want try to make things a bit differently or that their shit doesn't sound authentic, type beat type of crowd, that make songs like is a recipe, like making 2001's pop punk exactly as it sounded in effing 2001.

thorns of the future: how did you come up with the name for your project?

witchita: The project used to be under the name "Cry Horror" but I started to feel less identified overtime with that name, razorz (aka EPILEPTICS) suggested me to use the name of my first track for the new project name when I started really getting into more urban and hyperpop influence, he also pushed me to really dive in, into producing these type of genres more.

thorns of the future: what is your song "V" about?

witchita: V is a song about how we're all corrupted, it's in our nature, that you shouldn't trust your governments and police.

thorns of the future: tell us about your hobbies.

witchita: I'm always listening to music, or try to educate myself more about the craft, I don't consider it a hobby, but a passion though. I really enjoy watching films, I wish I could draw better, since I believe is a great way to express youself artistically, I really like cooking as well.

thorns of the future: what's your biggest regret?

witchita: I wish I started taking this music shit more seriosuly earlier, when I was young there was a lot of scammy producers that didn't even finished your songs, or delivered super late. I wish I could started recroding and producing myself since I was a teen. I did write songs there but they're lost in my mind or in some lazy ass's PC.

thorns of the future: tell us about your biggest wish when it comes to your music.

witchita: I hope to drop music until I pass, my biggest wish is to keep trying to innovate, to make better songs and to my music to find it's audience, so it can fulfill it's purpose.

we would like to thank witchita for answering all of our questions. we really appreciate you. that's all for now.

images & videos: witchita

spotify:

https://open.spotify.com/artist/4EEA2IvXRTLbllO4FvM0sX

instagram:

https://www.instagram.com/witchitamusic/

hyperfollow:

https://distrokid.com/hyperfollow/witchita

peace.

[sofacehologram]

How AI Song Makers Benefit Musicians

Instant Creativity

One of the biggest advantages of AI song makers is their ability to spark creativity instantly. Musicians can input a few basic ideas or select a genre, and the AI will generate a complete musical composition. This provides a valuable starting point for writers and composers, saving time and offering inspiration when faced with creative blocks.

Accessibility for Everyone

AI music creation tools are user-friendly, making them accessible to people with no prior musical experience. These platforms democratize the music industry, allowing anyone to experiment with sound, structure, and lyrics   ai music generator. Whether you're a beginner or an expert, AI tools adapt to your needs and preferences.

Collaboration with AI

AI song makers are not just about creating music on your own; they can also act as virtual collaborators. Musicians can work alongside the AI to refine compositions, experiment with different arrangements, or even tweak lyrics. It’s like having a creative partner available 24/7 to help bring your vision to life    .

Features to Look for in an AI Song Maker

Customization Options

A good AI song maker allows users to fine-tune their music. Whether it’s adjusting the tempo, key, or instrument choice, customization is essential for creating a piece of music that aligns with your style and vision.

Genre Flexibility

The best AI song makers offer a wide range of genres, from pop to rock, jazz, classical, and electronic. This flexibility enables musicians to experiment with various sounds and styles, helping them stay innovative and discover new possibilities.

Integration with Music Software

Many AI song makers can integrate with popular digital audio workstations (DAWs) like Ableton Live, FL Studio, and Logic Pro. This feature streamlines the music creation process, allowing users to easily import AI-generated compositions into their workflow for further editing and production.

Why AI Song Makers Are the Future of Music

Innovation at Your Fingertips

AI song makers push the boundaries of what’s possible in music production. With these tools, users can explore unique sounds, generate melodies that may never have been imagined, and take risks without fear of failure. AI is a powerful tool that fosters innovation and experimentation.

Affordable Music Production

Traditional music production can be costly, especially for independent artists. AI song makers provide an affordable alternative to expensive studio time, music software, and hiring session musicians. This makes it easier for up-and-coming artists to create professional-sounding music without breaking the bank.

Expanding Music Boundaries

AI song makers allow users to experiment with sounds, rhythms, and genres that they might not have explored otherwise. The AI’s ability to process vast amounts of musical data can result in novel combinations and creative breakthroughs. For artists, this is an exciting way to expand the boundaries of music.

[softpurchase]

Ableton Live 12 suite Lifetime for MAC Windows

Ableton Live 12 Suite Lifetime License 2025

Purchasing the Ableton Live 12 Suite through Purchase-Software offers musicians and producers a comprehensive digital audio workstation that combines powerful music creation tools with an intuitive interface. This lifetime license grants users permanent access to the full suite of features, including advanced MIDI sequencing, audio manipulation, and an extensive library of sounds and effects. Designed for both professionals and beginners, Ableton Live 12 empowers creativity and enhances productivity in music production. Enjoy seamless updates and unparalleled versatility across both Mac and Windows platforms with this essential software.

Ableton Live 12 suite – Lifetime for Windows 

Ableton Live 12 suite – Lifetime for MAC

[defiantdreemurrs]

For the ask thing: 7(Have tattoos?) and 44 (A random fact about anything)

7: i dont but id like to get stuff related to some of my favorite bands tattooed somewhere in some way at some point, also maybe the ushiromiya eagle tattooed to my thigh because funny umineko reference

44: ableton live is a digital audio workstation created in the late 90s early 2000s by a handful of techno artists who wanted to come up with a new way to play electronic music live using the power of computers and prior to version 4 did not have the ability to use virtual instrument plugins or record audio, only allowing you to sequence outboard gear and play audio files you recorded using other software

[thumpypuppy]

how do you usually come up with melodies n stuff? also what program did you use to make the isat soundtrack? :-)

Oh my gosh our first ask!

I (Lindar) have a few different ways I do it.

The title theme was originally written on a Teenage Engineering Pocket Operator PO-28. Just a stroke of inspiration, I guess? Sometimes it helps to sit down with an instrument and see what works, and different instruments lend themselves to different ways of thinking about music and melody, so I try to switch it up a lot.

Another way I tend to do it is to find an interesting chord progression and then let the melody emerge from that pattern, which can be a little frustrating sometimes, but has yielded some interesting results. Honestly I've been writing music for over two decades, and the process can be a bit arcane at times having amassed a whole host of different techniques over the years, but the years of experience is not required to make something good and catchy. At the end of the day I think my favorite way to test the viability of a piece of music as game audio is to play it for someone and then see if they start humming it to themself some time later. Hummable music means it's catchy, and that's what you're after, isn't it?

As for working with my other musicians, here are some things I've observed:

Alice is very methodical in her approach. She sits down at her DX7 with her headphones on and will try things and then iterate upon them until she is satisfied, and then will write everything in a sheet music notation software and send me a midi file when she's done. She's a classically trained violinist, comes from a family of jazz musicians, and is a big fan of progressive rock, so a lot of that influences the way she approaches music.

Sadie is also a jazz musician and former orchestra performer, she went to school for it, and honestly it can be incredible to watch her work, because she will simply pick up any instrument and immediately improvise something catchy. She's had several bands, she's been composing for years, and it can be magical watching her work. (She is currently in a band called Dirty Twenties, and you can find her solo work as "Sadie Greyduck" on most streaming platforms.)

Sandra… well Sandra likes punk rock and metal. She has done some of her own work, and we definitely have a similar approach to writing music, but she can be very scattershot in her approach. Primarily she does percussion for the studio, but her constant leaning over my shoulder definitely influences things, and she's the voice of reason when I have the tendency to over-compose.

As far as software is concerned, the studio runs Ableton Live with a host of VSTs that craft the sound we have, and a handful of live instruments as well. Some of the more notable things you've heard in "In Stars and Time" have been Native Instruments MASSIVE, Spitfire Audio Albion ONE, Toontrack Superior Drummer 2 (with the Metal Foundry pack), and our Ibanez 8-string guitar. If you're interested in all of the gear and plugins we have I'd be happy to do a separate post with a rundown of everything.

Thank you so much for sending us our first ask! I hope that answers your question! 😅👍💙