Harmony
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Posts posted by Harmony
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Yeah, but that's nothing new. The MPC in all its incarnations has been popular in hip-hop since its birth. Personally, I wonder why this has been the case. I’d take a keyboard over drum pads any day of the week, so is it the portability of the MPC’s that has got hip-hop producers mesmerized? Is it this famous great quality of the ‘MPC sound’ that I hear about? What?Yeah, ASR-10 is real popular. But the Akai MPC seams to be the most popular with the kids these days (along with Fruitypoops).
I guess I should ask why, but I’ll go out on a limb and assume it’s in one way or another related to this:I hate Kanye's productions. And Timbaland's….…Personally, I only use live instruments and softsynths for all of my production work. I prefer to make music from scratch (seeing as how I can and most producers can't, giving me an edge over a heavily saturated area of expertise).No need to start climbing the high-and-mighty live-instruments-are-better-than-samples tree unless you have something more substantive than a claimed ‘edge’ over other producers to keep you from falling. Your ‘edge’ only has a realizable benefit if your final product is in some way better than that of ‘most producers.’ And since we’re talking about hip-hop, I seriously doubt that the ability to play bass gives you or any other producer the ability (real or perceived) to make more successful, popular, creative or unique beats.
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the making of this track
I had no idea the ASR-10 was such a popular sampler with the big boys of hip hop production. I didn't bother looking it up, but Kanye claims it's from the early 90's which probably means it only allows up to 44.1kHz, right!? Makes me even more skeptical about the hype and push towards 192kHz recording.
And oh, Kanye samples more frequently and more "lazily" than Jay-Z ever has, yet I still love him. I mean what can I say? The man's beats are hot.
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Hey just out of curiosity, with the 1000's of one-shots that you have, what do you typically use to load them up quickly and in an organized fashion? I wouldn't think that you're just loading wav by wav as audio clips in FL...are you? Kontakt perhaps?
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3 months is probably my average. The first half of that is usually arranging and generally deciding on a direction for the mix. Practicing a solo part on piano or guitar, or working out the harmonies for an accompaniment is a big chunk as well. I also end up doing a lot of playing around that really doesn't end up in the mix. If I get a sweet bassline going for example, I might end up drumming away to it for an hour, just having fun and not really recording anything. I <3 MIDI drums.
By far though, the biggest portion of my time gets put into making all of my cheap/free gear sound slightly less cheap/free. Noise reduction on vocals and guitar, EQ on anything having to do with my el cheapo mic, pitch correction for my pitifully untrained voice, applying automation and plugin after plugin to get my predominantly soundfont based samples to sound a little more robust, final mastering, etc etc. Very time consuming, but fun, and I think worth it.
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In all likelihood a deal will be cut long before there is any danger of that, even for Desperate Housewives; if the strike lasts through this month I will be very surprised.
I dunno. Strikes over similar issues have lasted longer than a month.
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Sampling shows no effort.
That's a pretty broad statement that needs some qualification, wouldn't you agree?
It takes very little effort to sample a cool drum loop, ctrl+c ctrl+v 50 times, then throw some vocals or a guitar solo over it.
It takes more effort to sample a cool drum loop, ctrl+c ctrl+v 50 times, then make significant additions to the loop in terms of song structure, original leads, other supporting instruments, etc.
I'd say it takes a great deal of effort and creativity to sample a cool drum loop, creatively chop it up, arrange it, mix it, process it, then start adding other original elements. In fact, I'd say it takes just about as much effort as it takes to "write" a vg remix where the main melody has already been created by someone else.
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Just to clarify, wasn't "Lemmings UMD Theme" actually composed long before Follin did the PSP soundtrack? Mirsoft is giving the composers for the original Lemmings games as Tim Wright, Brian Johnston, Malc Jennings, Tony Williams and Jeroen Tel. That's a favorite theme of mine and I wouldn't want anyone to consider it for the project if it's not applicable. Most of the other Lemmings songs being hosted sound original though.
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The only trouble I can see happening would have to do with bizarre recording stalls due to CPU stress--that would create inconsistency in the dual recording process.
True, I hadn't considered that.
You guys sure that when exporting everything and re-importing it to the project, it will be sample accurate?If you're importing/exporting at the same sample rates, I'm claiming yes. Barring any oddball problems, I don't see where timing errors could come into the process.
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I have, however, had bad experiences with tempos, although set the same, not lining up exactly.
I mean, this was Fruity Loops years ago, but I've been paranoid and skeptical ever since.
The process I described doesn't have anything to do with tempos. You can set them at whatever you want and you should still be able to position your guitar audio EXACTLY (to the precision of a single sample) where it should be in Sonar. The only way that I can see a problem occuring is if when you bounce the drums to an audio file, the drums don't exactly line up with the midi data they were generated from. I find that possibility to be very unlikely.
Even still, if you don't want to go through that simple procedure to get sample accurate timing, believe it or not it's really not hard to just move the guitar track around until it's where you think it sounds right. Like Dan said, that's just the way it's gotta be sometimes.
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Awesome awesome awesome. I'm a sucker for tricked out drum work, and this is chocked full of it. And this is almost like two excellent songs in one! The first half is a really clean DnB minimalist take on the source, which I love. The second half is just as cool with a busy but still well defined soundspace.
Those crashes that get cutout around the 2:56 mark are really sweet.
Tres nice Radiowar.
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If I'm understanding the issue correctly then my solution would be this: Always bounce your drum track starting from the 1st bar. So now you know exactly where the drums start in Sonar. Then, when you begin recording the guitar into the laptop, always start recording from the beginning of the bounced drum track, whether you need to or not. Now you know exactly where the guitar audio starts relative to the bounced drum track. Finally, when putting your guitar track back into Sonar, set the Now Time cursor to the beginning of the first bar (or wherever you bounced the drum track from) and import the audio. Your guitar track should be exactly lined up with the drum track in Sonar.
Si? Si.
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Shnabubula
I can do just about anything but fall asleep to his music
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The pads and piano approach, especially with as dark and creamy a piano as this, lends itself to beautiful reflective music. You've executed that idea wonderfully. Very nice Hazama.
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Children of the Monkey Machine recently did an awesome ambient 34 min (!!) Tetris mix called "The Battle of Chernobyl," complete with soothing pads and chirping crickets, that blew my pajamas off. Very nice to listen to before hitting the hay, although I should warn you that there are one or two sound effects that might be a little loud/jarring.
Catch it now before the WIP thread is gone!
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Good stuffs for sure. I think the percussion makes it for me, especially the stuff near the beginning (0:48-1:05). The little percussive additions really bring life to what could have *cough cough* been a bland drum track. One good example is that cool whip-like sound that's all over the place (e.g. 0:33,0:41,...).
Oh, and the breakdown at 1:38-1:54...scrumtrulescent
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That's the power of basing a good portion of the shows on current events. Satire and social commentary, as long as it remains creative, never goes out of style. I remember when the Elian Gonzalez thing went down in FL on like a Sunday, and South Park had a hilarious show scripted, animated and ready to go by Wed. After that episode, I started expecting them to be around for a very long time.
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Jaw dropping! Some mixes take me a while to really get into, but I was hooked at the get-go with this. The rhythm guitars are powerful yet perfectly balanced with the rest of the mix. Solo guitar, what can I say? Awesome Sixto. Ethnic sections were clean and organic, serving as great transitions between heavier parts. The synth work is exactly as cool as just about anything else with the "zircon" marquee on it.
And omg this mix is phat. Actually, in an attempt to precisely quantify the phatness of this track for myself, I looked at its peak spectrum and wow; all of the lows, from the subs around 40Hz to the basses near 160Hz are filled to the brim. And yet, no mud! Now that's some quality production. Really nice work guys and definitely one of the best mixes I've heard in a while...I'll just have to remember to turn down the bass in my car when playing this, lest I utterly destroy my factory speakers
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Yeah man, this sounds nice so far. From the other music I've heard from you, I don't doubt that you'll do the Warcraft OST great justice!
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Ohh, sorry about that. It's just that when I look at the first page of this thread now, CHIPP's original post is gone (moved to the review thread) and has been replaced by Kenobio's post with the cover of The Belmont Legacy #3. Now, granted I've never read it nor have I played a majority of the Castlevania games, but I guessed, apparently incorrectly, that the large zombified figure with fangs that was being attacked by who I assumed to be Belmont, a vampire killer, was a vampire. An understandable mistake, I'm sure you'd agree. Thank you for the correction.uhh it still has 0 vampires in it -
Very cool mix. Love the samples!
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Wow, the first post is so much more awesome now. No offense CHIPP but your post had exactly 0 vampires in it
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Inspiring in just about every way.
To pick one thing to comment on, the vocal production is really nice. I'm digging the clean recordings, very subtle but effective harmonies, uber-even dynamics (I wonder what compressors were used and where they were applied in the FX chain), creative and not overbearing or obvious use of pitch-modification, and the fact that the mid-heavy vocals gives them a synthetic quality that blends beautifully with the other instruments (a rich vocal track with warm lows and bright highs would have killed it imo).
If anyone ever sees me driving down the highway screaming at the top of my lungs with the windows rolled up, there's a good chance I'll be singing along to one of these parts:
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The wrong way...the wrong way...THE WRONG WAY!
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Then I awake...at the end of time. Time and space are friends of mine. Someone let me out of here!
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And the hourglass is working upside down!
Nice.
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The wrong way...the wrong way...THE WRONG WAY!
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I wasn't arguing what you posted, Harmony. I was just kind of making a statement. I agree with everything you said against me
Cool, then please ignore previous posts. However if anyone disagrees, please read previous posts.
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Yeah, not as epic as I wanted it to be, but I loved the whole Al Gore manbearpig thing, as well as the story surrounding Cartman and Kyle.
"We had a DEAL KYLE"
Child's Play... my thoughts (please share yours)
in General Discussion
Posted
Very cool. I was hoping to have, as you initially suggested, some sort of tracking system to give us a sense of our collective contribution. If nothing else, it may have given the community a little extra incentive to try and reach any donation goals that were established. But not tracking donations has its pros as well.