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Everything posted by Souliarc

  1. *sigh* Just so you know, pirating software is really looked down upon here. Nothing is wrong with trying to find out about the software, but when you mention warez, somebody is gonna cloud up and rain all over you. If you aren't committed to music enough to buy the product to create it and support the company that makes it, then don't use the product. It's simple.
  2. I'm not versed in Tracktion, but I do know that that's one of the key points they try to make, the ease of use. The same thing can be said about Fruityloops as well though. Please note that the videos a bit old as Tracktion 3 is already out. Never used Reaper, but some people around here really like it. I used Reason a little (up to version 3) and really liked it. Love the rack-mounted style and the MIDI sequencing. It had no recording support (though now they have Record, which is a separate buy). The main reason I sold it though is because, for the sake of simplicity, I just wanted to deal with one DAW (Sonar). Not to mention, Kontakt 2 is my main sampler and to expand Reason's sounds, I needed to buy Refills which would not load into Kontakt 2. It just didn't help my work flow within Reason, but alone, it's wonderful.
  3. That's a BIG question my friend. The response I've gotten over time is that it really depends on your own specific needs and your own workflow I would check out Sweetwater's DAW Guide and I would check out this thread from their forums. I personally use Sonar. I really can't remember what ultimately determined my decision for it, but I haven't looked back since. It's been very good to me. High learning curve, but once you get it, it flow likah watah.
  4. I saw that this morning that it was intended to recreate the "vintage 80's" reverbs so you're right, it wouldn't be good on an orchestral piece. I have a minute or so of an electronic piece I'm working on so I'll apply it to that.
  5. I guess regardless if it's overpriced or not, even if it was a plug-in worth $100, I'd still get it. I mean it's only $15, and like me and Harmony talked about, it's another tool. If it's not your main workhorse as far as reverb goes, at least it's an inexpensive tool of variety. I'll be a guinea pig. I'll get it and use it on an orchestral piece I'm working on and see if it's worth it.
  6. I love this place. No doubt it's had an influence on my life. For something like this to bring me to tears, grabbing my emotion, you know it is deeply heartfelt when I say thank you to everyone involved who made this place what it is!
  7. They came out recently with an upgrade offer for previous owners of early versions of Kontakt (which I am) to upgrade to Komplete 6 for $299. That closed the gap for me. While it was sold out at Sweetwater for a while, I just recently got my copy. UNBELIEVEABLE deal, as I only had Kontakt 2. It will always be a good day when I can just not eat fast food about three times (each meal at about $5 a piece) and buy a hella software piece with the money saved !!
  8. They've done it again! That's just so much of a loss. I'm beginning to think the software is really overpriced to make it seem like such a good deal. Could be wrong though.
  9. Erm... scratch that, just got the same coupon email. I win!
  10. Well where'd ya go to!? *scans location* Ahhhh.. I love Cincinnati as well! Come back and say hey sometime.
  11. Can this be used with an upgrade? I got Ultra Analog Session and Lounge Lizard Session for free when I bought my Presonus Firestudio Project. If I can use it on an upgrade, I will most definitely take it for the $199 bundle
  12. Speaking of EZDrummer, if you get it from Sweetwater, you can get the EZDrummer bundle which includes a $50 Korg Nano Trigger Pad (12 pads) for free!
  13. Thanks for getting back with us Jake! I'm trying to get back in shape as well. It's a good feeling having that new energy rise up with you every day Great glorious glamorous giggity giggity goo!
  14. That is one way to do it, but there are many other homemade remedies for room treatment. I'm telling ya, read that issue of Overdub and you'll get you fill. It speaks of things like wrapping a framwork in carpet for bass traps, or attaching heavy cloth to a piece of plywood for mid-high frequency absorption. All can be put on wheels for easy mobility or just to help them stand freely away from the walls. Honestly, without even treating my room yet, the mixes I've made from the monitors and the way they sound elsewhere (car, other generic computer speakers) is phenomenal compared to the headphones. But then again, Zircon makes great mixes from his headphones! They are great headphones too. Me personally, I feel better having monitors in front of me, regardless if the room is treated, rather than using headphones.
  15. Yeah, you're in the right section sometimes it just takes a little while to get a response. This sections been pretty inactive for a few days too (could be the holidays?). Great job for a first attempt! It does take a while to get used things and what better way to do it than give ReMixing a shot? The mix is very close to the source for the first minute or so as it opens up exactly as the original does. Finally the drums are in full fledge at 1:45, but they are lacking any realistic dynamics or punch. I can understand the techno type genre you're going for, but it's pretty much a constant kick, clap, kick, clap with the exception of a few double kicks and claps, and no break down or being varied. Look more into compression for the kick to learn how to get that punch. Layering the clap with a snare or more claps can help it sound more full. It seems as though the kick looses a lot of it's punch as soon as it comes into the steady rhythm after the repeated kick build up. Get rid of the whistle Unless you kind find better arrangement/quality for it. It just doesn't fit. I really like the break down at 2:37. It's pretty much the most original part of your mix and has a great chip tune, glitch feel to it. See if you can extend that into the rest of the mix. I noticed there's no real bass presence before that section as well. Bass is essential to making your mix sound full. EQ the bass correctly to make sure it doesn't muddy up the kick or use side-chaining. The pad and organ follow the source really closely and that's dangerous territory for getting rejected. Don't ever give up! Starting out you get your work flow going and understanding what makes a song a song, but later you can learn more about mixing (panning, equalization, and the volume of each instrument) and arrangement to make the mix stand out more and make it more your own. Happy ReMixing.
  16. As far as treating your room goes, M-AUDIO provides a page full of different frequencies and noise. Because what we here is represented by direct and reflected sound waves, you can test what frequencies are being boosted or cut at your listening position with an SPL meter. I bought a used ART SPL-8810 off eBay for $45. I wouldn't say that it's a waste to get monitors if your room isn't treated, unless you're sitting in a room with very dense, reflective materials (like tiles in a bathroom ). Also, bass/mid-range frequencies are reflected from different materials so you can't just worry about higher frequencies. I don't have my Sound Reinforcement Handbook with me so I can't remember what types reflect lower frequencies. Actually, you know what, just read that whole Overdub issue #1 and you'll learn a lot about tuning your room. As long as you know what your frequency situation is, you can adapt for your mix by treating the room or boosting/cutting those frequencies in your mix. I am still in the process of testing my room. I can post results afterwards, but it might be a while.
  17. Yeah I think you mean "remake". If you were "remastering" you would be applying new mastering to the original songs Good luck and keep at it! Sounds good.
  18. Hey sorry, I saw your post in the other thread and was meaning to post but I got distracted at work and forgot :/ Before I got the wonderful M-Audio BX5a Deluxe's, I mixed with audio-technica ATH-M30's and there is a HUGE world of a difference. With the headphones, everything I mixed would sound muddy and bass heavy in my car, or on decent computer speakers at work. Given, those were only $60 headphones, but I'm just telling you how it was from my end. I'm NOT saying that the BX5a's are completely flat, but for the 5" Kevlar driver, it does a damn fine job without blowing my neighbors away in my apartment complex. There is a dramatic difference when I listen to my mixes elsewhere now. My Sweetwater sales engineer has never steered me wrong. He actually steered me away from the Alesis M1 Active 520's (can't speak for the MKII's but considering how the 520's went...), that I purchased anyway, and the tweeter went out in them in two weeks. He recommended the BX5a's from the start and that's where I'm at now. He even said to stay away from Rokit's which shocked me, but I can't remember why. Also, if you're mixing with headphones, if you don't have the hdphx, you should. It makes the sound less harsh by getting rid of the extreme panning that headphones naturally have, and makes it more like you're sitting in front of two monitors in a triangle configuration with yourself.
  19. Thanks for the comments and encouragement Zeal. I liked the first one too but aside from not being able to recreate it, I also felt it too closely followed the source. And for the purposes of a ReMix, I needed it to vary more. Long live the FFXI OST
  20. Hey everybody. Been a long while, but I've actually done a totally new ReMix because I couldn't seem to recreate the original as well as I'd like. I guess it'll forever remain unfinished, but onto new paths! Basically, this one is still not done either, but I want to make sure I'm on the right path. If I can learn any flaws I have early on from you all, it will prevent me from working with a flawed song until finish and having to waste time correcting. I've updated the first post with the new version.
  21. Y helo thar. Welcome to the boards! I would say one of the most critical parts of a ReMix is not being too conservative, a.k.a, following the source too much. While this is raw like you stated and creating a good template to start from is essential, I would see what steps you can take to vary from the source. Too be honest, I would say your song is even MORE conservative than the original, with the exception of a few small rhythm, note, and sound choices. If you're going to go with a slower tempo/groove than the original, it seems you will need to be even more creative because the source is very "exposed" and easy to pick out and follow along with. Especially being that the bass and lead from your song are very close to the original in timbre and melody. When the stabbing, fast attack, slow release pad comes in, I would say that's a better start for your ReMix as it sounds more on the rearrangement/creative side of things. The beginning is very drawn out, with the bass all along by itself for several measures. ALSO, because you are already aware of the raw nature of your piece, you can probably already tell that the sounds are kind of generic. Now, there is a difference between "generic" and "simple" sounds. Simple sounds, such as chiptunes and simple waveforms, can be used in very creative ways (look at halc!) but generic sounds resemble presets and have a very common sound to them. Nothing wrong with starting out with generic sounds to plan out your arrangement if it keeps you motivated, but be sure to introduce some creative sounds/processing/control if you don't have quality samples. Dont give up! If it takes staying close to the source to just get used to making music, then by all means go for it. I personally, though kept to myself, did several remakes of Silent Hill music Great catch on the original song though, reminds me of much simpler times as a youngun.
  22. I think the main reason you haven't gotten any response is because you've got most of the issues figured out already Which is a good thing! That, and because of the length, not much to comment on. Without knowing the source tune though, you have a very catchy, "pumping" rhythm going on. I think the rhythm guitars and the snare with the long tail contribute mainly to that good pumpin' action. Very epic and heroic. While I'd like to see where this goes, I think you have a good template so far.
  23. Well, even when you're in the track view with inline PRV off, you can still see your MIDI data in the clip. I can see your frustration 1.) It may not be the quickest way, but you can right click and hold on the previous node to see the value. You do still have vector automation in the track view though. 2.) For doing detailed work, don't you want to be zoomed in more horizontal anyway, which will avoid the problem of the dense nodes? And yeah, 8 allows you to open multiple views of CC values in the controller pane. I think overall, the nodes have their advantages, and vector has it's advantages. Ultimately though, we should have a choice to which one we would like to use, and where. Sorry to derail your thread a bit Tweek...
  24. To bring up a multiple tracks in the piano roll, hold ctrl and select each MIDI track by the number (it lights up green). When you have all the MIDI tracks selected, hit alt-5, then bam, there ya go. As far as vector automation, you can do that on the track itself in the track view, not in the piano roll. I haven't had any problems holding down ctrl and alt while drawing the controllers in the controller pane in the piano roll view, though.
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