• Content count

  • Joined

  • Last visited

  • Days Won


About ShadowRaz

  • Rank
    Mudkip (+150)
  • Birthday July 20

Profile Information

  • Gender
  • Location

Artist Settings

  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Software - Preferred Plugins/Libraries
    Kontakt 5, Massive, Serum, Nexus
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Synthesis & Sound Design


  • Twitter Username
  • PlayStation Network ID
  • Steam ID
  1. Cool info already given. I want to add my point of view also Automation allows basically the sounds you have designed and/or have used on the project, to change on the go. As timaeus222 pointed out, mostly it's just turning knobs, and that is done by "drawing" the wanted automation lines from 0% to 100%.. From bottom to the top of the field you can draw the automation lines on. can also be seen and used from negative -1 to normal zero (the init central position of the knob which is basically 50%) and then to +1, 100% (Pan, stereo left or right playing of the sound is common in this category for example). Or you can even automate tempo as i have automated often. which is whole another category with the drawing line position of the automation field. You can basically automate anything. It's just changing something from it's original position to another, the knobs you are turning on the go whilst the sounds are playing on the playlist. Then the automation of the sounds appears on the final render of the audio file that is from within the project you have exported from, unless you have deleted it or turned it off. The plug-in you have used to design your sounds or have even used a presets on, has way many knobs to change the sound a.k.a automate. As does many virtual instruments on Kontakt 5 for example. And then you can also add basically unlimited amount of effects and shit to automate through mixer, so you can tweak the knobs you want from external effects also. Changing volume or filters (fade some sounds in or out) is common to me personally, as is EQ automation for some growls and leads on mixer. Also making melody or bass to "side-chain" or otherwise change via automation is common. Within the plugin you are using on the other hand, there are often macros, which are knobs you can link several other knobs on (usually though, not always depending on what you use) such as wavetable position, bend or filters and effects of many sorts. You can also automate all individually but that shit takes too much space, effort and time in my opinion so it's easier often to link so much stuff to only one envelope in order to automate them all simeltaniously. However do not link too much stuff if you want to modify things individually WAY different from each other. One really common automation for example nowadays is vibration a.k.a note pitch slightly going up and down in a faster rate, you might not want the sound (mostly a lead often is it not?) to vibrate all the time (which can also be cool all the time on some sounds so do not try to automate forcefully) so you make an automation for it to vibrate at longer notes towards the end, or maybe even at the beginning of some lead or a melody.... shiit.. i dunno man... you can do whatever you want, as you should do with automation... No other restrictions 4 automation, than some things you think of but can't do because there isn't a thing/knob designed for it to change. Even then there might be some workarounds for some situations, so think outside the box. Automation is the key for making sounds change whilst the track is processing forward so it is extremely vital in my opinion for productions. Google the name of the daw u r using, and then add preferred specific terms for more specific results, and for one of these words in this case is automation obviously. That should come up with tons of results as it is a quite common among us producers.
  2. I'm back baby. Just scrolled few topics here at the community and i got to hand it to you lad, this topic was a necessity to check and even reply on. I really love all the pieces composed by Hans Zimmer, i mean c'mon, he is a genius on composing extremely emotional and story focused orchestral music and he is the main composer on movies that are really cool like inception, pirates of caribbean and shit... I'm also a movie/tv-show binge watching freak so when it comes to good soundtracks on top of stories and creating emotion, i am extremely interested and touched by them if done correctly. Personally, i'm familiar with composing in a DAW though, nothing else. If you were to demand to write a note sheet, i couldn't do, but if you were to demand composing an entire orchestra solo in a DAW with virtual instruments, that i can at least try to do, since i'm slightly familiar with it. I can make sheets too also personally, though first i would compose the actual music in a daw and then use a software (Sibelius) to create a sheet from the MID composition render of mine from within Fl Studio I did notice how Hans is mainly sitting behind computers (which seem to have some sort of DAW open) on this video you linked, and i do not wonder since nowadays so many recordings are pieced, mastered and timed together within digital audio workstations and he actually says "one microphone, on a laptop", so still, they are often recordings of an actual orchestra playing the instruments and melodies as they are composed and then played all together by the said live orchestra, not produced via virtual instrument libraries. I have often thought about the possibilities of learning to literally write sheets of music, instead of producing and composing directly through a DAW with piano roll (FL Studio). And even though most of these virtual instrument libraries on kontakt for example are actual recordings (note by note playing so that the DAW composer can then choose to compose what he/she wants) of the wanted instruments, they still do not match real live people playing all the notes throughout the entire composition, in order, in the way the instruments are planned to be played, and also in bigger harmony when stacking up the same instruments. I won't enroll though, as if i had the money to anyway. But i do still respect the beautiful pieces of Hans Zimmer and do get some motivation, maybe even inspiration from them when i listen to them through internet or hear 'em whilst watching movies. it's all cool mates
  3. Yes. Although i personally still can't always think of a way, how to create some sounds with Massive, which i can create with Serum. I guess i should still try at least if necessary, only that way i can learn is it possible. Boy did i notice some peaks immediately on Restless after i turned off the compression. I started mixing and mastering the track again, did not get where i wanted yesterday, i shall continue today and move on to other tracks in the EP. Especially mixing seems to be important since some of my individual mixer channels are peaking occasionally or otherwise the EQ settings i have added, boost some frequencies, and hence they are over loud compared to other sounds. It's fun practice to try to manage without any compression, but if necessary, i shall try to compress more effectively so it won't become overcompressed though. As long as the final result would be good Oh and by the way, i had no idea of such sound which is named reese bass. I was under the impression that kind of sound is basically called distorted bass but little did i know it has a name. Was watching a tutorial about it now (although i do basically know how to create distorted basses, even still, a tutorial can't hurt) since it could be more exciting bass for DnB parts. Better than the usual type i tend to design, just have to test out all kinds of stuff.
  4. Ah indeed, i agree, which is why i often make some pluck or lead sounds on Massive for example and effects, but i have never gotten saw melodies or growls and drones sound nearly as good no, matter how much i try to adjust detune and unisons for saw melodies or how much i modulate growls and drones. Also i did bring up Harmor as one addition not so long ago as it is quite powerful plugin too for sound designs. I did test it long ago but tried to understand it recently better on my 'Through the Darkness' project. That lead you hear on the DnB drop of Restless is the same one, Harmor lead design. fun fact, Harmor also allows to import waveforms for the oscillators in it. It has quite a pack of features, i am nowhere near understanding Harmor enough.. should also look into that more even though i know the basics of it.
  5. Well it is for me nowadays At least almost 10Gb minimum in full length tracks. Not all though Why should i be conservative about RAM usage though if i have 24Gb of it since i bought it mainly for FL Studio anyways? It would be pointless to have as much if i didn't use it. Better yet, i would need more RAM especially since i have started graphics design, and that requires RAM a lot too, and my multiprocessing is disabled for renders too so it takes a lot more time. Just checked that the video for full Restless with all the effects, takes 6 hours to render. Yes, 6 hours for 4 and a half minute video.. And also yes, Serum eats most of it on Fl Studio, but i really do prefer it mostly for my sound designs. Second hardest for RAM (can be harder than Serum depending on the instruments i use) is Kontakt 5. I simply could not do what i do with only 4Gb of ram unless i rendered audio files basically from everything and then deleted the plugins.. and then if i would need to change something i would be screwed especially on sound design unless i had saved them all and the exported midis as well so i wouldn't have to recompose.. What a bustle that would be though. And as i have talked about Restless project now, that particular project takes up 13994Mb so around 14Gb. Edit. when i opened the project today it was merely 12Gb anymore.. weird This is literally the first plugin i can't use because it's 32-bit. Not a huge loss though since there are quite a number of compressor choices anyways Also i swear you have mentioned the exact same thing for me directly or i have seen similar post from you saying about that particular track how it is the loudest track, a track should be. I do wonder where it was.. whatever.
  6. Here's the second drop without stereo enhancer, maximus or fruity limiter. Also noticed that my wobble sound was mono so went ahead and added unisono not much else. Left Fruity Compressor to gain down the sound because it CLIPPED HELLA LOT without it. But only gain in fruity compressor. Edit. just finished rendering the DnB drop without Stereo Enhancer, Maximus, Fruity Limiter and even took out Fruity Compressor, and then dialed the sound down with EQ 2 so it won't clip ridiculously Also tried to improve the transition part but even still it's not that good.. hmm.. maybe should compose ever so slightly different lead notes or something..
  7. Thank you for the info. I shall really look into these aspects you mentioned. I usually prefer composing and producing and designing something rather fast, instead of trying to fine tune everything perfectly, which i should do in order to get better final results. Also about the compression thing (apart from the usual sidechain compression), i never have gotten it completely so i shall look into it now, found couple of videos at SeamlessR's youtube channel which seem to be really helpful on both, Fruity Limiter and Maximus compression. (by the way, the way you emphasize some words with thickening seems to be more pleasant to read for some reason) But yeah, haven't learned it properly yet, and i should and will do it by watching some lessons from the internet, the same way i basically have learned everything i know currently. With the exception of coming here for example and you helping me like now so i thank you again. Do you have any idea why most tracks nowadays then peak over the 0dB limit? And why do they sound so good even still.. for example the mix i made.. As you can see, all the audio files in the dubstep mix go way past 0dB. Edit. I suppose this is apparently called "sausage compression" perhaps? At least i understood it as such from the compression video i have looked now Edit part 2. Tried to get the Pocket limiter. It works on 32-bit FL Studio, but my FLS crashes immediately when i open it on 64-bit and as all my projects take at least 10Gb of Ram which is a standard minimum, i can't use 32-bit ever so it's useless. Edit 3, isn't it funny though how the writing thingie extends over the borders? It comes like that when the big ass picture is there
  8. I also listened to the dubstep remixes you linked. Quite good actually both of them, but personally in dubstep genre, i prefer more "brutal" style, like the tracks on the mix i posted in the 'Making a Mix' topic which i started not so long ago in light of making a "mixtape" on which you also replied. One source of my inspiration in the dubstep stuff. Get angry at life and produce some angry dubstep am i right though embrace the restless feeling by making stuff that changes often and then drink some coffee and become more hyperactive So on Redemption, there i have merely the fruity limiter that is there from the start, Eq 2 for small master tweaking and master level is a bit down on it and stereo enchancer which is unrelated to the matter, On Puzzle i have basically the same stuff but in that project i had a weird invisible compression problem which occurred when i clicked on the master channel but when i clicked any other channel, it vanished. Also i did sidechain the melody for it among the glitch.. it can affect the weirdness too so it seems like the drums do it.. But otherwise the settings are basically same on every track with exception of tweaking, the normal limiter is down there from the start and then i always add parametric eq2 and try to adjust stuff. On Salvation i did have Fruity Compressor and just slightly tweaked gain down. The Fruity limiter which is on master channel seems to make the track a lot more loud.. Oh and on Restless.. i did not like the transition either when the third dnb beat drop starts. merely added a drone and a whip sound basically.. they did not come out sounding that good when it's supposed to drop harder.. i have always had problems with transitions as you pointed out at some point for me That's basically it. Oh and the thing about Drums on Fire not being easy to remember and stuff.. i don't get it why does music have to be easy to remember and the kind that it could be hummed or something so it would be good? Do people necessarily have to get a song stuck in their head so that they would appreciate it? Isn't it more annoying than a good "feature".. i dunno What should i do in order to get the sound right?
  9. Hmm, interesting how you mention that basically every track is overcompressed in some way.. Well there is the Fruity Limiter on the master mixer channel every time i start a new project on which i never touch at all.. might i assume it affects the final result? Occasionally i also just drag down the main level on a single parametric EQ 2 so the sound wouldn't "clip" too much.. i have noticed how many, many tracks nowadays cross the "borders" of the audio file, my stuff included, i'm not quite sure what kind of a effect it has.. This was a picture i captured of one projects audio files when i was pondering the thing i mean. Same track. On the top one the waveform crosses the "borders" a lot, then i tried to "compress" it down so it wouldn't do that. Or is this particular thing called limiting? I'm not sure actually..
  10. Heyy. Produced and composed 5 tracks for an EP publish with a name Orchestral Redemption. Link to the upload: I had troubles on some tracks and certain amount of lack of motivation to really focus on these at certain times so this EP has taken like 3 months or so to build whilst i have been making all kinds of other music and stuff. But still tried my best to make good end results apart from just enjoying the composing and designing Would appreciate honest feedback on all the tracks. Haven't published these anywhere else so i still i have opportunity to fix stuff. It's sometimes easier to hear mistakes if someone else points them out rather than noticing them on my own since it is basically a different world to listen as the producer compared to as someone who did not build everything in the track. Isn't it funny though? As in a producer tends to listen some individual stuff on own track, all the parts and sounds somehow separately, individual instruments, sound designs etc, always on which the producer focuses on, but can't somehow just hear it through others ears or even listen to it as a "whole track" so to speak. I can't be the only one who has this kind of thing, since a producer just can't hear own track as someone else, unless they have a freaking memory loss.
  11. Yeah, thought so, saying something like "i don't own these" won't help. Also i'm not planning on making mixtapes often if at all (i usually just repost as in add a link to some tracks i like on my accounts, not making mixes of them and then uploading them) because as i said, i prefer designing and composing my own music the way i want to instead of just putting couple of songs one after another. I'm an individual musician (or at least a producer and composer with virtual instruments and sound designs as according to some people "you can't be a musician if you don't play real instruments" (although i kind of play piano but not effectively for a live performance, only for composing with it more slowly)), not a freaking record label. This is only to share some good tracks for people who might not necessarily know the tracks and some video effect practice for me Good link though, explains quite effectively the point in a short explanation. Did get some copyright claims on the video i was talking about, this: Although, not from every track, merely from 3 tracks. Brutal-ish dubstep mix, for people who like music with heavy, often changing sound designs like myself at certain times depending on the mood. Added all the artists and the tracks name of course, links to their accounts and also the source for the background picture.
  12. Ok so, i have mostly practiced my own composing and producing skills over the years because that is what i prefer to do. Not counting only few of remixes in which i also used audio files, on which i also have composed and produced still, but on a single case i did make a mix of others songs and merely chose the tracks for it and added few effects here and there and chose the point when the songs are changing and stuff. In that mix all the tracks were produced by Arkasia This: Mixed and made a video, just because i like his music and thought it could be fun. Now i did make one more of several artists (Nasko, Deltabot, Panda Eyes, Virtual Riot, Brig, Music Predators) , but i'm not sure what kind of an impact it might have for my account considering copyrights. I know some tracks are strictly denied to republish anywhere (from a single case when i tried to upload Adele - Hello remix) else except on their own appropriate channels. How can i possibly know which are genuinely allowed to use in a mix except basically by trying? So i won't get copyright claims which will jeopardize my account. Anyway, i have made the mix already and rendering the video as i am writing. All the tracks were Free Downloads and i used the opportunity to get them and make a mix out of them so considering that the tracks were free, i assume they are also free to re-publish in a mix as long as i mention the names of the artists, tracks and give links to the artist accounts as i have already saved such draft on wordpad to add as a description for the video. Also i have noticed that some people on youtube add a text like: "I DO NOT OWN ANY OF THESE SONGS" and stuff like that, but some do not, so can anyone tell me why is that? At least i did write such text on that mix but is it a necessity? For some reason i see it kind of pointless when the tracks are mentioned by full name and links are given in the description. Although i should have given the link to Arkasia by the way in that too.... gonna go edit it now..
  13. Title of the video says a lot, description at Youtube says more. Basically in this video, one can hear the individual sound designs better as i play the drops through without violins, leads or arpeggios melodies.
  14. Agree that it's good to be able to perform everything on your own, being a musician nowadays requires a lot, as there is a lot competition, so knowing how to make a complete track from start to finish is an asset. I have had enormous troubles with mixing and mastering since the day i started producing and composing. I don't know what all causes it, for example if i mix and master basically on the same day or even day or two after that i finish composing, producing and designing the track, i simply won't hear some small details i would have with time. But sometimes it's just lack of skill or even patience to fine tune, and my hearing is selective and ain't the best on my right ear. Gotta work on skill and patience at least. But as far as hearing goes, not much i can do although i have wanted to check my right ear for long time, if there were anything unwanted hard earwax in there since it gets "blocked" occasionally and i seriously can't hear with it as well as with my left ear.. I don't know how much checking my ear would cost though and i already have 1 dentist bill unpaid so it shall wait.
  15. I still think it's quite fascinating how some people use human voice in modern electronic music productions, for example one artist i like, Brig, often has quite similar vocals in many of his (hers?) tracks, yet different, but similar still, (mostly some ooh, aah, ooaaa-u-u-aa etc with lots of echo and sometimes delay perhaps? (or just sang that way) you catch my drift) and it sounds to me that they are often sang by same person (as the voice is extremely similar), might i assume that it could be possible, that it's her own voice (would be hella lot easier to produce what one wants if it was own voice) or it could also be someone with whom he/she often produces music. Or one singer from whom Brig then samples often... i dunno actually.. hard to tell.. Could be playing around with pitch as well with many different singers but the resemblance is uncanny. Check out this EP by Brig and you will hear what i mean What do you think? Brigs own voice? Or someone with whom he/she is in contact with? or sampled from somewhere (perhaps a same singer?) On heartbeat for example there is definitely playing around with pitch a lot but hard to tell is it a man's or a woman's voice... Sounds a lot more woman's voice in chorus at least. The voice is so similar in many tracks by Brig, that i automatically assume it is either Brig herself or someone with whom he/she is in contact with. It's definitely a woman's voice though.. i guess?