• Content count

  • Joined

  • Last visited

  • Days Won


1 Follower

About APZX

  • Rank
    Goomba (+100)
  • Birthday 10/04/1989

Profile Information

  • Gender
  • Location
    Warner Robins, GA


  • Biography
    Just a guy trying to make music.
  • Real Name
    Austin Simons
  • Steam ID

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design

Contact Methods

  • Skype
  1. Okay so I know this has concluded, BUT I just saw this on Youtube and couldn't help but share it.
  2. I know the pain man. My problem was working on Cutting of Edge of Notion. There are just tons key changes in there. That actually took me the longest to do.
  3. Wwwwwweeeeeeeelllllllllll, that took longer than I thought it would. However, it is done! My bonus entry is up. I basically started with Mute City and then did a little transition to Cutting Edge of Notion. Hopefully, it works out reasonably well. Also, Cutting Edge of Notion has a wonderful little section that just GROOVES along that I really like. That portion alone could make a beautiful basis to a Trance track honestly.
  4. Actually the more I tear into Cutting Edge of Notion the more I'm kind of digging like a slow beatish EDM thing. The sustained parts work really well for it and it has one KILLER Lead line. Unfortunately, doesn't seem like much else past that. This might take me longer than I thought.
  5. Well, I dunno about combining the two in a giant mashup, but I've almost got something that'd work for Mute City and the way it ends could turn into an interesting transition to Cutting Edge of Notion. But I haven't even really looked too much at that one. Granted I'm still having issues getting a decent drum beat I like with Mute City. Edit - So, after some more work on my Mute City bit I think it works well with the transition I have in place now. Just some basic toying around. This isn't a "proper mashup" but more like having two tracks follow one another, but kind of feed of the energy of the last one.
  6. Then try a fourth old school trick. Use a tone generator set to sine or triangle to the key of the song (like if it is E then put the tone to 44Hz for example). Next put a gate and key (trigger) the gate off the kick. This will add a low end thump to the kick. If you play with the gate's attack and release curves you can get it to react in various ways and give the tone some differing tonal characteristics. Again like the distortion bit you don't have to typically add much.
  7. Hmmmmm. Kicks are sometimes a difficult one. So, you've got a few options that you can try. I guessed cutting the bass around 60-80Hz would help give the kick a bit more oomph in the mix. But if that doesn't work you can do some sidechain compression of the bass to the kick. That can help the kick stand out a bit more when it doesn't have to compete as much with the bass. Personally, I'd also mult out the kick, but that is just because it affords me more control if I decide to sidechain. Anywho, some other options to try. The kick has a pretty good transient so that kind of forces your hand a bit with what processing you can get away with to make the kick more "punchy". If you decide to go the compression route you've really got two main options to attempt. First, take your meanest and fastest compressor to the task and just grab the entire sound and compress the ever living snot out of it. I'm talking like 12dB GR starting. The idea here is that if the sample isn't "punchy" enough you're GOING to make it "PUNCHY" enough. You'll also need to do EQ after the compressor to rebalance the sound. You can also use targeted EQ before the compressor to make the compressor react more in the manner you want to the frequencies you want. Second, you can actually use paralleled distortion to add in what you feel is missing and blend that in with the original. I do it very often with basslines for more clarity in a busy mix with lots of guitars. You typically don't need a lot, but it does make a world of difference. Another option you can try is some saturation, personally I like Bootsie's TesslaSE for this kind of thing. Sometimes it just phattens up a sound without any real compromise. Past that I'd have to have to the multi to really offer much more advice or you'd have to be a bit descriptive on what you feel is missing.
  8. Dex, Your mix sounded pretty good on the whole. There are just little things that start separating out a good mix from an okay mix. There is a lot that you can do even with freebie samples. You just have to get a bit clever sometimes with how you treat them and use them. If it says anything I don't think the samples sound bad or anything. I mean you could do a lot just by giving the drums some extra space in the mix with some EQ, reverb, and compression. I've worked with worse.
  9. Dex you want constructive criticism on your mixing? I can't offer too much advice about the instrumentation as to me it sounds fine except maybe those high sustained bits on the guitar, but mixing? Oh I can offer some advice on that. Lets start with your overall drum sound. So, your cymbals are a bit splashy. Probably best to control that with compression aimed at leaving the transient alone, but grabbing the sustain portion of the signal and dropping that down some. Now, I'd wager that if you used a de-esser on the hi-hat it'd sit pretty much perfectly with everything else. I dunno why but I just get that feeling. The snare has a pretty good hit, but it is simply too low in level and doesn't have enough space around it. It just sounds kind of flat. The kick is also pretty good, but again lacking in level and space, but it is lacking a third crucial component, that low end bump. Which really brings me into my next point of discussion the low end itself. So, you've got a bass and I can hear it. However, your piano hits lower and harder than it does. Get some compression and EQ on that thing. I'd say try pretty aggressive compression and target a relatively narrow bell around 60-80Hz to cut some of that out which will also allow your kick to hit a bit harder down there. Alternatively you do some sidechain compression for that, but I'd say try the EQ bit first. With the guitars I feel they have too much unneeded HF content. Try a LPF around 15KHz to cut out some of that. They don't really sound like they need compression, but for a bit more character you could consider using some to bring out some more desired characteristics of the sound. Past that I'd actually give them more energy around 250-300Hz to make them a bit more aggressive in sound. The rest of the mix I'd say sounds pretty good overall though. Perhaps a bit on the dry side IMO. Hoboka, can you please do something about the distortion in your mix? Otherwise I really LIKE THIS!!!!! For me this was ultimately the deciding factor between you and Dex because when I considered everything as a whole I felt both were great renditions of the source in their own ways. So, choosing turned into a matter of splitting hairs. But seriously the wolf sound effects? Awesomely cheesey! The whip sound effects? Amazingly cheesey! I mean really this is cheesed up so hard it hurts in the best possible way!!!! Kind of like how the Super Mario Bros movie is so utterly terrible but so utterly awesome. My entry? Well it has a kick, a bass, some other sounds, and some melodies. I guess it is okay.
  10. EQ is one of those things that I tend to be pretty "minimal" with most of the time. I say that because most of the time I'm just doing basic stuff with it and not really a ton of tonal shaping. Really, because in mixing I'm not really worried so much about the tonal qualities of individual sounds most of the time. I'm really just working to make them fit together. So, in that quest and pursuit I just focus on doing things such that you really don't notice my EQ much. You've really got to distance yourself from that and try to bake the mix into your composition from the get go. A solid direction of how things should sound before you even get into mixing. I use my Neumann KH120As for judgement of things. I love these things. I have a pair of soundsticks out where I do my soldering because having some tunage when you're soldering and fixing kit is a great bonus. Everyone else! Teh MP3. Teh FLAC.
  11. Dude SoundCloud's encoding is just straight up garbage. My hats are garbled past what sounds like about 12KHz and same with my wonderful saw stab. It is what it is. I can upload a lossless version and/or HQ MP3 and put it up on my MediaFire if desired. Not a big deal for me to do so. One thing I can say about SoundCloud encoding is that you have to be "somewhat" aggressive with the limiting and compression in a track for it to have little effect. However, it is a hard one to pin down because some tracks sound great. Devotion to the Motif sounds pretty good all things considered, with only some garbling on the FX sounds really. Binary Verve all sorts of garbling all over the place. It really is kind of hit or miss.
  12. I just did some things with this. Got some strings in there, some nice organs, and really well yeah. I just did some things. Looks like SoundCloud is being dumb with the waveform, but it is what it is you know?
  13. This was a fun little track to play with.
  14. I'll see if I can get something up in the next few days. Kind of a creepy sorta theme with some fun potential for kind of a 90s Pop Techno translation.
  15. Eh, personally I'm not a fan of either mix from a "stylistic" approach (all completely personal and subjective things). The first one had a certain level of distance to it and the instruments were very carefully placed within that distance. The second one I think might be a bit on the "bright" side, but even then it isn't like overly so. Though if I'm being honest it is mainly the drums and when coupled with the differences in the placement of instruments it is just a different kind of mix all together. Don't worry so much about your hearing in this sense. Lazygecko brings up a great point in that listening when mixing is kind of a fickle thing. Like I'm sure many people I know hear "better" than myself, yet they aren't able to detect even half of what I can when I'm listening analytically. There is more to it than just natural hearing loss. Look at the big time mixing engineers or mastering engineers. Most of those guys aren't youngins and they do some good stuff I think.