zajimave:)
Polyrhythms are Polypitch - live @ Ableton Loop, Berlin
https://www.youtube.com/watch?v=-tRAkWaeepg

Přehled dílů — Jak se kalila hudba — Česká televize
http://www.ceskatelevize.cz/porady/11577938776-jak-se-kalila-hudba/dily/

BRKODLAK: Občas zkouším svoje technický nedostatky ještě zvýraznit a udělat z nich přednosti. Negativní stránka věci je, že se vzdálim žánru, ale už sem se nastavil na "who cares".

Hudba Zdeněk Liška — Česká televize
http://www.ceskatelevize.cz/porady/11104928969-hudba-zdenek-liska/21556226559/

Lockjaw
3 hod ·

Pro-tip: A lot of the time, it pays off to ignore and just stop listening to a lot of the music you want to emulate or try and write.
In the world of drum and bass, it's very easy to get caught up in the technical side of things, get obsessed over drum sounds and how people make basses and sidechain synths and weather or not your tune is up to scratch. While it's important to be technically proficient, I believe the best tunes get written when people go off on their own tangents, say "screw it" and get lost in their own tangents.
This all sounds very abstract and workplace motivational poster-ey so here's some things you can actually do:
1. Instead of constantly A/Bing your tunes with others as you work, instead just focus on your own and think of how to add to or improve it on your own terms. I think it's fine, however, to reference your tune at different points against other tunes to ensure you're keeping the production and technical side at a competitive level.
2. Come up with a strange idea or production technique or goal and try to execute it. There are no "correct" ways to achieve sounds, if it works it works. I can guarantee that getting lost in strange synths and going down deep, weird producing rabbit holes will yield some of the best and most unique results. Sometimes you just gotta duplicate that bass 5 times to get the right layers.
3. Listen to a lot of non-drum and bass and get inspired by that. There are literally millions of different ways to take inspiration and steal ideas from different genres; mix-wise, arrangement-wise, timbre-wise, etc etc.
4. Come up with simple ideas or sound palettes in your head whilst not working on music to work on. I like to come up with simple rhythms in my head during the day as starting points for tunes, I like to imagine writing tunes with a certain timbral quality or focus on a texture and I also like seeing what things come into my head when I see movies or music videos with cool combinations of visuals and music.
5. Focus on your strengths. After you've been writing tunes for a while, you'll probably notice you tend to subconsciously gravitate towards certain sound, styles and techniques. It's usually a good idea to keep focusing on these and hone in on them. There were certain things and ideas I wanted desperately to bring into existence when I started producing which I just failed to do repeatedly, for years. Over time though, I've figured out a workflow and learned better ways to get down things which I know work better, and get faster at it too. This process is also handy as it helps you develop your own sound as you refine your idiosyncrasies into unique, musical virtues. The things that can set you apart from everyone else doing the same thing as you are the tendencies and things you discover yourself during production.
Just some ideas for y'all. Or not. Whatever, man.

NOOLY: Sám moc dobře nevim kam se zařadit, jsem teď na rozcestí a zkoušim všechno možný. Dneska už používám jen tři nástroje - waldorf blofeld, virus b a zoom h4n. Možná hardware proti vst už dneska zaostává, ale na druhou stranu mi to pomohlo dělat ušima, když jsem se alespoň částečně odpoutal od DAW. S tím nenuceným mixem souhlasím. Vybavuju si, že nápady, který mi zněly od začátku dobře, při mixu tolik práce nevyžadovaly.

VEX: Dulezity je uz vyber nastroju, coz je urcujici pro skutecnost, jak bude cela kompozice znit dohromady. Nevim, co delas za zanr, ale inspirovat se v ramci zanru od nejlepsich je vzdy prospesna vec. Podle me se "dobry" veci pisou tak, ze mix je radost a ne boj, proste to pohromade funguje uz pred mixem.

Poslední dobou si připadám trochu zaseklej po technický stránce. Prakticky cokoli si pustim, má to přesně takovej zvuk jakej si představuju, že by to mělo mít. Moje tracky vůbec. Je to běžný? Nikdy se mi moje tracky nebudou zdát tak dobrý jako cizí? Začínám si připadat, že mi tady něco uniká:)

VEX: hele nevim, zatim mam neco objednane u kamose kytaristy co mi pujci a pak se rozhodnu, jinak mam jeste nejaky levny delay a reverb/chorus/delay Neunaber Wet (ten zas tak levnej nebyl.. ale levnejsi nez strymon:)

kazdopadne boss dela dobry pedaly

btw. tady nekdo udelal seznam veci co mel v tom setupu

1) RML 432k Distortion Box $399.99
2) Metasonix KV-100 Assblaster $2,000+
3) WMD Geiger Counter $299.99
4) Dwarfcraft Fuzz (they make 3 kinds) $175-275

1) WMD Geiger Counter $299.99
2) Metasonix T-3 $500 (only one I could find)
3) Mu-Tron Biphase $1000+ (vintage gear)
4) DOD 401 Phaser (I think) $125
5) Compressor ?

1) Watkins WEM Copicat 70's Tape Delay w/Footswitch $500+
2) Trogotronic p77 Tube FX Pedal $325+
3) AKAI Reel To Reel - Many Models Many Prices
4) Spring Reverb - Unknown
5) Compressor ?

1) Fender Mini Tonemaster $55
2) Shure SM-58 $100 Mixer EQ and Compressor

DANCHEZ: koukal jsem na to vcera a hned jsem si rozjel ty paralelni bass distort chainy, je s tim celkem zabava:)
kazdopadne novej Doom ma fakt brilantni hudbu a sound design, ta hra cloveka hodne vtahne dovnitr

dobra prednaska o delani hudby do DOOMa, typek je trosku magor, ale o to je to vic fun:)
DOOM: Behind the Music
https://www.youtube.com/watch?v=U4FNBMZsqrY

BEC Workshops 2017: RIDO Masterclass
https://www.youtube.com/watch?v=C57LlH1JtTc&list=UUogBbhba0w2Qpq3wza7XpPA&index=1

Mám dva hotový tracky, o kterejch jsem začal uvažovat jako součástech EP, ale když jsem si uvědomil, že mě master každýho bude stát prachy, najednou vyšlo najevo, že to sou sračky:D