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Tensei

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    Metal keyboard tone

    in Music Composition & Production

    Posted

    Out of curiousity, do you ever use side-chain the kick into a compressor on the bass? I did that on CHIPP's mix and it seemed to control things pretty well.

    No, I haven't ever tried sidechaining anything on an acoustic kit, but yes, if applied subtly, I can see it working. You just have to make sure it doesn't cut out the bass completely or that it doesn't start to pump like a Techno Beat :P

    Metal keyboard tone

    in Music Composition & Production

    Posted

    First you want my lead synth tone, now you want my production techniques?! my oh my...6t578js.gif

    Rhythm Guitars are recorded through Guitar Rig 2 (Because I like the recording flexibility of its loop machine), Lead Guitars are recorded through Amplitube 2 (Because I prefer it's rectifier sound to anything Guitar Rig 2 can do). Bass is the Broomstick Bass Demo ran through a distorted Guitar Rig 2 preset. Drums are a self-made Addictive Drums preset.

    As for the kick, try this; Subtle compression (something like 2:1 or 3:1 ratio), BIG-ASS BOOST at 50-60 Hz (something like 10 dB), roll off everything below 45-50 Hz (depends where you boosted before). Now if you want the kick to pretty much dominate the mix (like it does in mine), give it another HUGE BOOST somewhere between 3000-5000 Hz. If you want it to be more subtle boost between 10k-12k Hz. I actually put distortion on the 3000-12k portion of the kick to give it even more of an agressive bite.

    Finally, make sure it has a substantial 'scoop' between ~200/300-600/1000 Hz so you can accomodate the rest of the instruments in that frequency range (again, the final settings depend on how much you want the kick to dominate the mix). The instruments have to be set up around the kick so they don't start to mask each other out too much, I did it like this: Bass-> Rolled off at 70 Hz, Boosted around 400 Hz for presence, boosted around 1500-2000 Hz for attack. Guitars-> Rolled off at 200/250 Hz, boosted at 300/500 for fatter mids, boosted at 3000/4000 for bitier attack and crunch, Lo-passed at 7k to get rid of any annoying high-end.

    I don't know why that guy goes on so much about heavy compression, especially at a 15 ms attack. Try it out for yourself, you'll notice that it cuts off all the body and even a part of the click. If anything, I would never go below a 30 ms attack for a kick, much less with any substantial amount of compression =/

    Anyone make use of convolution reverb?

    in Music Composition & Production

    Posted

    http://en.wikipedia.org/wiki/Convolution_reverb

    In audio signal processing, convolution reverb is a process for digitally simulating the reverberation of a physical or virtual space. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the space being modelled. An impulse response is a recording of the reverberation that is caused by an acoustic space when an ideal impulse is played. However, an ideal impulse is a mathematical construct, and cannot exist in reality, as it would have to be infinitesimally narrow in time. Therefore, approximations have to be used; the sound of an electric spark or a gun shot, for instance.

    And remember, every time you post a new thread without a difficult to answer (i.e. not google-able) question or a valid discussion topic in it, god kills a kitten. Think of the kittens.. =(

    Edit: Fine, fine, I have tried convolution reverb before, but yeah, it was a memory hog and I'm quite sure that in non-orchestral environments it would be pretty hard to make much of a difference in sound quality.

    Metal keyboard tone

    in Music Composition & Production

    Posted

    Thanks it was very helpful. I know how to do in fl what you did. You just right click the lfo amplitude/amount and link it to the mod wheel controller. Is that what you do in reason?

    Well Reason has something called a combinator which is a device that can accommodate all the synths in that you want, and play them like a single patch. It's really easy to connect the Mod Wheel from the combinator into all the LFOs of the individual synths.

    edit: what is the difference between overdrive, saturation, drive, and distortion. Aren't they all the same thing?? (yes I googled it and all I found was a forum with people arguing over the same thing)

    I always consider them to be as basically the same thing, though each one probably works very differently (which I don't really care about), and each one has a bit of a different character to it.

    Metal keyboard tone

    in Music Composition & Production

    Posted

    I think I've managed to reproduce it in Reason to a certain extent, so if you like it(wait for the synth solo, I bust out the pitch wheel there), here's how I did it.

    Very much like a DnB Reese bass, it's barely possible to recreate it with only one instance of a synth, you'll need to set up a lot more, because these patches tend to be complicated suckers. I always find it easier to have only one oscillator active on each of the instances, since it gives you very tight control over every single filter and LFO on it.

    Layer 1: Saw wave. No attack, decay 1/2way, sustain 3/4ds of the way, barely any release, bit of portamento with a legato playstyle (should be exactly the same for the other layers), detune +12 cents, LP12 filter with cutoff almost all the way up and resonance at about 1/4. The lower register should sound a bit like the bass in Benny Bennassi's Satisfaction. Oh, be sure to turn off the internal delay and chorus effects, those will come last.

    Now I don't know how to set this up in Synth 1, but I'm guessing you could just automate the LFO amount; Have the LFO set to OSC 1,2 (this controls the pitch), set the amount at 2-3 for now, and play around with the LFO speed until you've achieved something that can be considered a vibrato (Also, set the wave-form to a sine wave, gives the smoothest results). The best would obviously be to have the mod wheel control the amount of the LFO, but I have no idea how to set this up in FL. Do make sure you use the exact same LFO settings for the other layers.

    Layer 2: Saw wave. Same ADSR settings as above, detune +4 cents, filter HP12, cutoff 1/4, resonance 1/2. Should result in a similar sound to the first instance, except it would have a very 'pressed' sound, sort of nasal, because of the resonance.

    Layer 3: Square Wave! Same filter, portamento and ADSR settings as the very first layer, detune +4 cent, should result in a very clicky square wave which will make up most of the attack of the full patch.

    Layer 4: Sine Wave, no filter at all (just set it to lp12 with a maximum cutoff and no res), tune 1 octave up, very high attack decay sustain settings, no release. Should sound like a fading in high tone, which is exactly what we want as feedback :)

    Layer 5: Saw Wave, for some extra meat! Detune -1 Cent. LP 12 with a bit over 1/2 cutoff and no resonance, same ADSR as layer 1,2 and 3.

    Now, for effects, I have a generous amount of overdrive/saturation on layers 2 and 3 and a unison effect on all layers except the sine wave (all unison controls in Synth 1 at 1/2). Now route all FX to a single mixer track, and put on some delay and reverb for a nice and wet sound (I'm sure you can figure out the specifics for yourself), some Blood Overdrive for added grit, and if necessary a compressor, equalizer and stereo imager to make it sit in the mix.

    As for playing style, try to use the mod wheel on nearly every sustained note to give it an ample amount of vibrato, use the pitch wheel a LOT, not just for bending, but also for 'sliding into' notes and faking guitar tricks like dive-bombs. In a solo alternate between fast, scalar runs, arpeggial runs and sustained melodic notes, with lots of 'decorations' done by the pitch and mod wheel.

    Whew, that was a long read, but I hope it was worth it. I haven't added the specifics about setting it up so you can trigger all the synths at once with the same piano roll, and I don't know about using the mod and pitch wheels in FL, but I'm sure someone here will be able to add that information to this :)

    Oh, in terms of tone this might actually be closer to Dream Theater, but I sure like it and I hope you will too.

    Firsts in video games

    in General Discussion

    Posted

    I don't see why people are jumping straight to PS2 games for first games to have voiced characters when it happened in multiple PS1 games. I don't know which was the first or even if a PS1 game was the first to do it, but the first one that comes to my mind is Brave Fencer Musashi.

    Pokemon Yellow was the first. Pikachu could totally talk.

    Absolute Music EP [Re-Release]

    in General Discussion

    Posted

    I'm listening to this right now, and this is some weird shit, you definitely nailed that IDM-sound. Reminds me a lot of Aphex Twin and in some parts of Venetian Snares (not that one shitty song though, you know which one I mean ;). Awesome drum sequencing as ever, lots of weird noises, and some stylish pads make this one definitely worth downloading. =)

    Edit: Just finished listening to the whole album and well..It went by in a breeze, the songs smoothly segue over into each other and it works really well as background music. Now, about those subliminal messages, why do I suddenly have the urge to drop all my money in your bank account? =/

    WIP: Maridia_This_Is_Madness

    in Post Your Game ReMixes!

    Posted

    Didn't I send you my mean-ass resampled reese bass comprised of about 200 synth layers? >=)

    Anyway, It's not too bad, but it sounds like you have bloody overdrive on just about everything. Drums sound extremely thin and grainy (possibly because of the overdrive). The first tom roll is cool, the transition to the beat after that is kind of iffy.

    About the crashes, only use them on the beat, don't use them off-beat unless you want to accent something there, in which case you should double it with a snare, as of now it just sounds like they come in at the most random moments. If you're not using too much external samples, feel free to send the .flp my way and I'll see if I can get things cleared up both in terms of production and arrangement.

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