Harmony
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Posts posted by Harmony
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I don't know if you and Long are the right people for the job Sam. A soundtrack from you all would most likely be so distractingly awesome that people would turn off their monitors, turn up the headphones, and never finish the first mission. That can't be good game design.I would very much like to do this.Of course, replay value would be through the roof...
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Leaving the house now!Looking forward to tomorrow's show! Jarel, make sure you hang with us again! Brandon, you better be there! -
sweeeeetAs for sfz, it's planned, but not implemented yet. I'm working with the guys from Chicken Systems to get the conversions down.
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Sorry man, I've got nothing. I've noticed that if the buffer size is set too high (say, at 1 second latency), nothing renders for me, but that doesn't seem to be your problem.
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I had a similar problem in Sonar 6.2 when using the TTS-1. I reproduced the problem for tech support but the guy had no answer except for "yeah I see that it happens in sonar 6, but it seems to work in sonar 7. Upgrade!"
ugh.
What synths are you using?
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shoop, shoop-a doop, I can't wait to see this live!...while I'm still alive
Go Terps!
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ooohh, nice work on the Kontakt skins!
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I played the hell out of "My Own Prison" and "Human Clay", and I love "Who's Got My Back Now?" and "Bullets" from Creed's "Weathered"
And I find it hard to believe that most people my age didn't rock out to "Significant Other" in the 90s. Twas the shizzle.
That said, I can't listen to Nickelback. I've tried. Maybe I'm allergic?
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Ha, I saw a sign on campus for this the other day in the most awkward place. Don't remember exactly where but it was something like on the wall of a dead-end hallway in the Kim building that is almost exclusively used by the custodial staff. Now why was I was there again?...
...anyway...
I'm 94% sure I'll be at the concert!
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You can churn out good mixes with a Sound Blaster so that card doesn't have anything to do with the muddiness or mixing problem.
"Mixing" in general is just making sure that instruments don't step on each other's toes. The easiest ways to do that are with volume, panning and EQ. There are 2 big reasons your mix sounds muddy and jumbled. First the main bass synth that comes in at 0:23 is loud, bright, and very full, meaning that it takes up a LOT of sonic space. Then you try to cram drums and a lead on top of that and you get mush. Try lowering it's volume slightly and using an EQ to lower the higher frequencies. I think that will help the lead synth to cut through a lot better. Also, everything is dead center. Pan some of your instruments to get them off of each other's back. Put an EQ on each instrument and play around with it to see if you can make the mix sound "better." It takes practice to know what "better" is, but you've gotta start somewhere.
My suggestion for improving mixing is to start with all instruments muted, then unmute each of them one at a time. Each time you unmute an instrument, adjust the volume/panning/EQ of all of the unmuted instruments until it sounds balanced to you.
The second cause of the mud is that the timing of the lead is way off. You want something like this to be crisp and clean. If you're unable to record using MIDI so that you can adjust the notes later, keep practicing playing the part until you are very comfortable with it. Comfort = MUCH better timing.
It's got a little ways to go, but I like the promise of what you've done so far. Have fun with it and good luck.
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Ha!, that was pretty slick.
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I'm having tons of fun testing out Groove Bias in Kontakt, but I'm sure you know what format I'd love to see: SFZ! Give all the folks out there who want high quality drums samples but can't yet afford a high quality sampler a chance
I even did a little research for ya. I ran a quick conversion of a Groove Bias kit from Kontakt to SFZ format using the demo of Extreme Sample Converter (with the files stored as .ogg for superjoe30
) and in 60 seconds the default settings did a good job of preserving everything except release timings. I'm playing it in SFZ and the sample converter even got the round robins right. Hopefully there's some setting that would give a 100% faithful conversion, but if release times are the only problem, sfzEd is a graphical editor that should (never used it myself) make modifying the release envelopes easier than using a text editor. -
Yeah sorry about that; I'll use the intimidation factor excuse.
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Yeah I've checked that, thanks for the suggestion. SONAR disables the channel FX by default when the track is frozen. Maybe it doesn't disable the track automation though, and although I don't have any panning envelopes on this particular track, I do have other envelopes so that may be something to consider.
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http://musicthing.blogspot.com/2005/05/tiny-music-makers-pt-3-thx-sound.html
This story was terribly interesting to me. Having to write music like they did "back in the day" really separated the musicians from the wannabes.
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So I would say your problem would have something to do with a glitchy VST module.
*maybe* but this is actually a vocal track, not a synth. Although, yeah I guess some of the FX or automation could be throwing it off.
You can't generalize like that. As you said, it simply depends on the number of VSTs you have loaded. I seriously doubt that ANY modern computer could compete with my reckless use of FX plugins. I have a "singer-songwriter" template that loads up 21 plugins for a single guitar and a single vocal track.With a high-end computer, there's no need to freeze tracks imo. A large amount of RAM and an Intel i7 processor (extreme edition and overclocked for purists) would be able to handle any DAW applications you throw at it.Don't judge me.
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I regularly freeze tracks to conserve resources while I'm recording, and I had always just blindly assumed that the frozen track is exactly the same as the normal track. However, I just noticed that one of my frozen tracks is panned differently than the unfrozen track. This scares me because I have mixed down a few songs with frozen tracks in them expecting everything to be a-ok.
So my questions are (1) should there be a difference in the frozen track, and if so what types of differences should I expect? The SONAR manual doesn't seem to indicate that there should be any difference (2) does anyone else export final mixdowns with tracks that have been frozen, or is that just bad practice?
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I suppose I should have said compared to dynamics, condensers typically have a much lower max SPL which means it's easier to push the condensers too far in terms of input loudness. As I understand it, gain doesn't affect the max SPL because it is applied after the sound has been captured by the capacitor.
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If all you care about is clean vocals, a dynamic mic will be fine. Plenty of people use them with for vocals to great effect. The SM58 has a cult following in the world of vocal mics and BGC has recommended the Audix OM2 as a low budget dynamic vocal mic which outperforms the SM58.
Condenser mics generally have a flatter frequency response meaning that they record the sounds more accurately without adding or dropping certain frequencies. So that's one reason why they're good for picking up the subtleties of a vocal performance. However, they are generally more sensitive than dynamic mics which means that unless you have a quiet recording space, the condenser can pick up the garbage truck outside, your a/c turning on, the hum of the mini fridge by your bed and everything that you don't want, leaving you with a noisy recording. Plus, if you're going for some edgy loud vocals, you really can't yell into your condenser because loud sounds can easily overload the circuitry and ruin the recording.
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No phantom power means you can't use most condenser mics or some DI boxes (for your guitar). No big deal for now, but if you get more serious about recording you'll likely need to upgrade to something with phantom power.
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I think this is the best clue on that page:
It could be anything with a tenuous connection to the clue, in any fashion.The game is impossible and you should give up now.
Based on that, my guess is: jpeg
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No popping and no perceptible latency? MME sounds like a winner. And it sounds like it was a driver problem with the new soundcard. Maybe bad or non-existent WDM/ASIO support? I dunno.
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FYI: In SONAR, if you don't want to go with the ASIO drivers, the buffer settings for the default WDM drivers are in Options > Audio > General Tab. Just increase the number of "buffers in playback queue" and the "buffer size" and *poof* no more popping! As Brian said, there's no free lunch here so your latency will increase. I'd say that if you can keep the latency less than 10ms without popping, you and your system are doing well
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That's interesting. I haven't heard too many complaints about Ozone in particular. I am semi-seriously considering buying it in the semi-near future so I'm interested: Are you saying that it will do more harm than good because of some limits of the program, or are you just saying that a person who doesn't first have the fundamentals down will most likely do more harm than good?Do yourself one favor: don't get something like Izotope Ozone which comes with a load of presets. Its interface is horrible and it'll do more bad than good.
Propellerhead - Record
in Music Composition & Production
Posted
The automatic audio tempo following is interesting, but otherwise it looks like a homebuilt 64 bit version of SONAR 2.0 to me (which also didn't support VST).
My gut reaction to the clip is that it's still too complex for very casual music makers (apparently their target market?), but not powerful enough to compete with other sequencers on the market at the $300 price point. What they SHOULD do is market it as a live-recording-centered competitor to FL Studio in the $100-$200 range. That could make some waves.
I get a chuckle out of the marketing though. "smug engineers"