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  2. Workshop

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    2. Post Your Game ReMixes!

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  3. Comments/Reviews

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    2. Judges Decisions

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      29 June 2017 02:00 AM
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  • Posts

    • We're not doing this for every artist's approval. We're just doing this for the ones who're concerned and available. PMs to everyone here, emails if we have them. And they have whatever time it takes to get the other things in order, minus whatever Usa needs for any revisions.
    • I don't know if we'll be able to guarantee putting them up for artists to listen to and approve - for reasons which should be obvious (if not obvious: the difficulty of trying to get so many artists to sign off on them, a number of which don't come here anymore and we don't have contact with, when we've already arrived past the final, honest-to-God finished phase of the music). At this point I think they'd be more interested to see it release already than tie it up in something like that.
    • Wait-you have the beta version? Sure, I'll take it. I don't think Pro accounts work anymore though...
    • I'll do it here, so it'll be useful to more ppl. Parallel compression is when you mix a signal with a compressed copy of it. You can do any kind of parallel processing, but if there are any phase shifts or delays, these will cause phase issues. Some effects are all about these phase issues (phaser being the obvious example), but they're usually not something you want. A compressor without any filters or delays doesn't cause phase issues, so you can mix its output with the original signal without any problems. Unlike regular compression, this mixed result will not have that same squashed or pumping sound, even if you compress it really hard (depending on the mix ratio). you can use multiple compressors in sequence too. This is often done on a bus that's mixed in with the main signal. But it's so much easier when you can just turn a single knob in an effect you're using anyway. As for the rest of the signal chain, I'll probably have an EQ in there, and it'll end with a limiter and some monitoring, but the key element of the chain is probably the multiband compressor. It lets me control how much space the lows get to take up. It's like a dynamics-sensitive EQ. I usually don't put any of the other output effects on (except the limiter) until I have the sound design and most of the arrangement in place, because I don't want to use the end of the chain to correct things I should correct earlier. If I can easily solve something with a touch of level automation, I do that rather than make the multiband compressor work overtime.   
    • I've been enjoying this plugin a lot, Bad Buss Mojo, on my kick (and sometimes bass) to add some fatness and dirt. It's free-ish, evaluation copy just means you have to wait 5 seconds when you load it up. Worth it http://www.stillwellaudio.com/plugins/bad-buss-mojo/
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