Compyfox
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Posts posted by Compyfox
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That's not dynamic at all, it's the other way. Then why not clip everything to it's maximum anyway? You won't hear any difference at all and it's the same effect you were just talking about.
Make the computer volume fairly loud. Make the master volume pretty loud. then, turn all of your instruments down to about a half or a fourth as loud as they get. Then, you can properly hear everything without egtting too crunk/soft.Well, this is what I do with FL5 and 6. Aslo, a computer's nature could bring fault as well.
Ever heard of "adjusing your setup properly"? Setting everything up correctly right from the start is a good thing. Borrow an SPL (sound pressure level) and use the K-System from Bob Katz as guide, then set it up "correctly" according to your room.
Pushing everything right from the start doesn't make it better. Your "technique" even hints to pushing the loudness even more, cause the producer is like "Okay, my volume slider is at 0dB, my sequencer volume slider is at 0dB but the amps still sound too quiet, let's push it more, where is my multiband compressor/limiter?!".
THIS... is a total NONO in terms of engineering!!!
Mix everything together so that nothing clips at all (which means, you barely even hit -0,5dB in the master bus). After you're finished, do whatever the hell you want with it (aka overcompress it). But if you compress and boost right from the start, chances are that your music won't sound any better after the mastering stage. And not even an audio engineer can fix that.
Learning the wrong way is easy. Learning the right way is like a crusade that's happening in the shadows, but nobody wants in reality. We "careful engineers" fight our war alone.
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Bose is overrated for (home) cinema systems. They overpower too much, which was done on purpose to satisfy the so called "golden ear" or in better term "audiophile" community.
Boss is made for longrange if they present it as "the loudest and best sounding THX equipment for your home", but not for nearfield/midfield aplications. And I've listened through a lot of surround systems for possible "mixing". All I can say is: BOSE IS CRAP. They're HiFi speakers, not mixing equipment.
Hell even the Alesis Monitor 1 mkII kicks more ass (And sounds way better for mixing, too).
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Looks a bit much like a toy to me. Very... flat. At least for my puposes. Well maybe because I have different preferences and already have a keyboard. The KAOS Pad type controller is a nice idea, though. But a 2 line LCD? That's so oldschool.
Anyway.. does the Novation Remote come with the V-Station or the Bass-Station? Or is it just the controller only?
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Well depends on your preferences what to get. Yamaha, Roland, Kurzweil, maybe the new Terratec Aera 51 controller with the Komplexer ROM board. All are interesting in their own kind of way, also do they have a different focus (more electronic based, more orchestra based, etc). Just depends on what you want to do with them.
My taste doesn't count here, as it doesn't blend in with most of the mixers at OCR. Make up "your" own mind. Cause you have to work with the synthesizer for the next couple of years, as they all aren't cheap.
Again, use the search function of these boards. We have this kind of topic every once in a while.
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AFAIK the SH-201 is the latest from Roland and offers the most features for the buck. The Juno D is really just a Trance snyht with like... 20-30 patches and barely any special features? Wasn't impressed by it at all to be honest.
Take a dive into the archives. I'm pretty sure we covered that in the Musikmesse 2006 thread:
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HAHA! Not in my case. I only remix what I "played" (at least most of the time) and I also remix, that nobody wants to hear. Then combine that with the fact that I never really finished a track, and nobody bugs you about your tracks.
That simple.
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The aftershow with Flik and his sister where everybody in the channel went nuts. Oh... that's not an official show.
AND NO... don't ask me where I put that thing. XD
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VGF was (and is still) released in the mp3pro Format. You can't get any lower than this anymore. Legendary... well every show is legendary I'd say.
Larry just needs to hook me up with more stuff, then I can release everything I have. Inlcuding a couple of shows prior VGF#21. But... keep in mind, Larry moved to Washington, needed to get used to his new home, and he doesn't have access to WMRE anymore. Things got delyed a bit, especially in the last season of VG Frequency.
BTW:
The Torrents are still available (and won't finish that soon either), just ask at #ocremix or in here for some seeder. Atm 2 seeder per VGF are available. Even the 'Backup Show' "Crimson Moon" with a load of german accent and more than just remixes.
Oh yeah, you can find the torrents here:
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I still say, that there was also some pitching/speedup involved. But oh well... I guess only the Winston brothers could clear this riddle.
For the time being, I use my collected samples and/or loops so I don't need to work hours on sounddesign just to realise, that I'm still far from the sound I wanted.
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More than enough spoonfeeding. It's your part of doing the researches.
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I don't think you can tune your acoustic drumset like that.
I have to disagree. The recording quality, type of mics, temperature and brand of drum kit all effect the tone of a drum kit, so it is possible to obtain that tone, just unlikely.
Not at this pitch however. The secret is unlocked if you pitch down the loop, like Israfel did in "Soul Blazer - Tears for a Moonlit Knight". I guess this solves the riddle.
Record it at a lower speed, then play it at 45 instead of 33 and bam... first DnB loop ever.
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*sigh* Okay people... once again, let us live up the old times and bump this sh*t before it drops off the boards.
LET THE PUBIC-SIZED FRO LIVE ON IN OUR HEARTS!
*sniff* We miss you, Larry.
DRAMA +1
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That original "Amen" sure sounded way too overprocessed. And I don't think this was "that possible" with an acoustic drumkit alone. So something was done at that time. Like I said, it's a pity that we don't know that.
Then again, else thousands of wannabe producers would make their "own" samples, and not buy sample CDs anymore. However, no musicians gives out their "holy secrets", especially not the trance producers (haha - very funny, hundreds of hours of trial&error and I still can't reproduce your shitty trance kicks! Maybe you use sample CDs by yousef!)
Ah yeah, and "Motown" only got popular due to their "compression/mix/recompress/remix" technique they used over and over and over to get that pumping sound. It's thanks to them, that a lot of material is overcompressed nowadays, cause it was created by so called "high end engineers". There's nothing "good" behind that.
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The synth? The "SYG100" (or whatever nunber it had) was bundled with FF7. It was also available for purchase once (all reincarnations, still need to contact Yamaha, damn). Even though it's not available anymore, it wasn't ever marked as freeware.
Why not get a SFplayer and one of those many "GM Packs" with like 250MB? (Hammersound, SF2midi.com, etc)?
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It's also quite easy to use the search function if we answered these questions over and over! A little bit of research is part of the game, too.
If you don't like that, then don't post either, SGX.
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And I say the same as I said at the KVR Boards yesterday. As interesting as it is, it doesn't really clear "How" the Amen Break was created. If it was made in end of the 70ies, there wasn't really that much in terms of electronic instruments, and I don't think you can tune your acoustic drumset like that.
Else it's pretty much basic history which degrades the Amen Break to a "standard loop" that everybody uses. In the DnB scene however, people learned how to slice that material up and mix it with other breaks. Making more out of it (example: Hardstep) than what you heard in the video from Aphex Twin, who was obviously on drugs while writing that song. I won't say that the break is not overused, but the examples could have been better, though.
The thing with the copyrights was interesting though, and kinda totally messed up what some firms say in terms of "license" and "owning rights".
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3times as long as mine! o_O
This is what I call e-penix. XD
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Learn how to use a sequencer - that's it.
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In Progress (aphabetical order, not in order how tracks will be released):
Jazz Jackrabbit - Opening (1% done)
Parasite Eve - several themes (10% done, lost in translation)
Turrican 2 - Freedom (60% done, WIP on my page)
Saga 1-3 - Opening (80% done, WIP on my page)
Space Invaders - Main melody (5% done)
REDUX (aphabetical order):
Seiken Densetsu - Sad Theme (lost in translation)
To Engineer (aphabetical order):
Chrono Symphonic - Special Edition
Trenthian - Chrono Trigger Mitsuda Traveler (still being arranged)
JJT feat Zyko, JJT's brother - Mega Man 3 Metal Man
Trenthian - Street Fighter 2 Guile's Mile Long Dong
More detailed list, and some more random crap, here
List looks huge, but I barey release anything (neither original nor remix), so keep that in mind. Just writing down some ideas, if they turn out well is another thing.
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You can't deny that it's price/effort technically the best firm to go.
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What, what, WHAT?!
Is it our job to do the researches? Almost every module works. And the page is very detailed.
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Cool beans, might swallow that shit up for the "still to finish stuff" I have to do.
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Er... did I mention Edirol yet? I guess I did mention Edirol, didn't I?
18m video on the Amen Break
in Music Composition & Production
Posted
Why do I even write if nobody is listening to me.