PrototypeRaptor
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Posts posted by PrototypeRaptor
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I actually want to make it like... DIRTY dubstep.
A worthy cause indeed.
First of all, you need to listen to more dubstep to really "hear" what that filth is supposed to sound like.
http://soundcloud.com/noisia/noisia-machine-gun-16bit-remix
It's all about the automation of filters, pitches, and heavy, crazy distortion.
Then it's all about sampling. Export your basslines and cut them up, process them again - then do it again.
Same thing for the drums, and melodies.
It takes time, but you sound like you're on your way. What I'd recommend is trying to replicate a dubstep song that you really like - figure out how you can do that; then do it yourself.
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Edit: new Deadmau5 remix! Check it out:
http://soundcloud.com/prototyperaptor/sofi-needs-a-ladder-raptoredit
http://www.beatportal.com/remix/detail/sofi-needs-a-ladderraptor-edit/
more glitchy electro house for your enjoyment
Hey everybody, didn't figure this needed the full gen-disc treatment so I'll just leave it here for anybody interested.
Some new (non) game remixes are up from me, 2 for remix contests and a couple just for fun.
Beatportal's Call Me remix contest:
http://www.beatportal.com/remix/detail/call-me-raptor-edit/
Like most of my stuff this is really aggressive - I'd call this Electostep as it incorporates some dub bass sounds. oh boy
...wait till 3:50 for something special.
Fedde le Grand's contest:
http://prototyperaptor.feddelegrand.com/tracks/2828-prototyperaptor-rockin-high-%28raptoredit%29
Not as aggressive, but still hard hitting and definitely fun.
2 more unofficial remixes are available on my site: http://prototyperaptor.bandcamp.com/album/remixes
one of "We are not Gentlemen" that is quite Mau5y
and one of VNV Nation's Chrome that is a vocal track with some electro influences - it's interesting.
all of the songs are available for download at my side, with the fedde le grand mix coming up as soon as the uploader decides to work.
comments are welcomed, votes are appreciated, just plain listening is also ok
cheers!
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and I've been patiently waiting for some video tips from PrototypeRaptor for some more help xD.
alright, I've tried to do this several ways, but I can't quite do it justice.
so what I'm going to do is make a few videos of me actually doing a remix so I can kinda tell you what I'm thinking through the process - that way I don't mess up and tell you to do something stupid... or to do what I do
so what I'm going to ask is what track you'd like me to work on a remix of for "learning purposes."
also, blackpanther, I think your track has the actual composition correct, but the production is holding it back.
your kick/bass/snare are very muddy - there isn't enough pop to make the speakers, well, pop.
some more aggressive compression on the bass specifically would fix that. or, you could layer in a higher "click" bass track to make the attack more obvious.
I'll recommend a sort of magic plugin as well - Refined Audiometrics CLAS.
Go look it up, throw it on your kick, snare, and drum bus.
Listen to the drums crack like nobody's business.
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I've been trying to get onto more well known places for my genres, namely beatport.
but it's impossible unless you have a label that uses it, and it's pretty difficult to get on a label in the first place.
anybody have any experience with that sort of thing? I know that unsolicited demos = throwaway, unfortunately...
Also, check out soundcloud for hosting stuff - it's becoming a great place to have your music heard.
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Hey Prototype, whats the latest with the song. Did you sub it?
yeah, it's been in the queue for a few weeks now.
which means there's quite a while until we know if it's passed or not.
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WTF! how can i not have a firewire port...
god firewire is the worst thing ever - you won't need it till you don't have it, and when you get it, it won't work when you need it.
/bad experiences rant
go with usb, man, go with usb...
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and seriously i laughed through the entire 2 hour movie and would see it again you guys gotta see this
yeah, it's definitely recommended. I can't think of a more ridiculous movie.
and michael cera didn't completely kill it for me. that's a first for him.
FYI: the entire movie is worth it for the universal studios intro reel. you'll see what I mean
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The drums aren't that hard - just cycle/blend through several stacked breakbeats.
in my experience that leads to a very cluttered, messy sound.
I think you need to select samples very carefully to fit "what you hear" in your head - not just throw breakbeat over breakbeat.
my process goes something like this when deciding how to approach drums:
(for the snare)
-WHY do I want the snare to sound like that? musically speaking or otherwise
to achieve that goal;
-does it need to be pitched or just a 'thump'?
-if pitched, do I want it to sound natural or resampled?
-what about the attacks/releases - do I want them to be so dry you could pick the drums apart with a comb or slightly blended together for a more rockish feel?
-what else is going on in the mix? how much space can the snare actually take up?
-distortion, eq, multi-layered snare/clap/hihat?
-how does the snare 'play' with the kick? do they sound together often or almost always separately?
and on and on and on for all the important elements in the loop...
yes, it's a pain, but the difference between a drumloop I just throw together and one that I pick apart is quite vast.
listen to this: http://www.youtube.com/watch?v=lD3FfGeM2sw&feature=related
and then this:
tell me which one had more time invested in it...?
love your drums and they will love you
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I use: http://www.kvraudio.com/get/1315.html
as a cheap, effective sidechain compressor in FL/whatever
the video tuts are still coming, it's just taking a bit longer than I would like.
I dunno how zircon does it - talking to a screen is weird no matter how you approach it
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Electro-house still has alot of variety in of itself.
There's artists like Wolfgang Gartner who seem more "house" and than artists like Justice who are more, I dunno, "electro?"
Sidechain, and distort the shit out of relatively simple (simple as in 1-osc maybe 2) waveforms in synths. NI's Massive is used a LOT in electro-house.I <3 Massive
anyway, to just show people how I approach these things I'm going to do a video walkthrough here in the next few days going over one of my more recent tracks - how I started it, some synthy tricks, effect chains, etc etc.
any preferences? I dunno how in depth I'll go but at least it'll show you how much micro-editing you're in for haha
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EDIT: WHY ISN"T THERE A DOWNLOAD LINK FOR THIS ARRRRGGGHHHH
haha...whoops....
I really should check these things better. should be fixed
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Alright, I promised in the last thread that I'd have something new relatively soon, so here we are.
If you're not familiar with Borgore or Noisia, you probably should stay away from this. Definitely.
Scientists have found this track to severely injure small animals, children, and those unaccustomed to trips to auditory hell.
http://prototyperaptor.bandcamp.com/track/zelda-underworld-nullification
enjoy?
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Alright, I took a listen - this is really quite awesome, barring a few production issues.
Your main problem is filling out the soundscape - or at least compensating by using heavy limiting/compression/distortion.
see: beginning to 1:11, 0:47-1:11 especially
Once all the elements are there, the track comes together well, but until then it's just, well, boring.
Add some countermelodies, or, even better, some cut-up sfx ala noisia.
How much longer are you planning on extending this?
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Specifically, I'd like to know more about that glorious bass of yours.
AMAZING MIX.
I've been thinking about doing some tutorials, maybe a video, to getting "that" sound.
Though most people would probably find it boring, and I dunno, there's like 1000x of those type of things on youtube already...
anyway, thanks for all the comments and be prepared for something new relatively soon...I've been busy working on something genre-wise the site sorely lacks.
I hope you're all feeling rather...dubby....
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are you using midi conversion input?
just wondering because, well, nothing is transposed and some of the notation is just plain...funky... (and no dynamic markings?)
example: look at the trumpet parts, mm1.
-1st trumpet will hate you forever with that first entrance on the 4th sixteenth of the beat.
-2nd trumpet will not really ever be comfortable reading those dotted eighths the way you have them barred.
-later on, the trombone writing is extremely difficult position-wise, and you'll probably never hear it played cleanly as is.
-jumps, jumps, jumps. stepwise motion is your friend, especially with the french horn, trombone, and tuba.
try to avoid writing awkward leaps in succession.
you do this quite frequently - the low brass shouldn't really be your goto for arpeggios.
from what I see, you need to study some brass quintet scores and learn more technical details about each instrument - as well as just plain practicing! the more you write, the better you'll get.
here's a book that will definitely help you out, I highly recommend it - everything the author says is 100% accurate.
http://www.amazon.com/Instrumentation-Orchestration-Alfred-Blatter/dp/0534251870/ref=ntt_at_ep_dpi_1
it will tell you everything you need to know about score preparation, usual scoring techniques, even special properties of the instruments when used in ensembles.
you should also check out the ewald and bartok quintets for two very different examples of how to score for the medium.
if this seems like a lot of work...it is!
arranging for players is one of the most difficult things to do in the music world because of the human element - it's just as important that the score LOOKS right as well as SOUNDS good.
unfortunately, there's no way to get around the studying phase - you have to put in the time to learn the classical theory if you want to write for traditional ensembles.
good luck, I've been slaving away at this stuff for several years now and it's just starting to all come together...
maybe we should just hire an orchestrator, it's what all the film guys do...
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from one arranger to another, you seem to struggle with the same problem I do - we write too many notes.
it sounds great on finale/sibelius, but when you get live players, it's going to sound muddy, disoriented, and just plain "not" what you heard in your head.
you need to think of a brass quintet, or any group, really, as a ensemble of soloists who can play duets, trios, solos - not all of the instruments need to be playing during the entire piece.
in fact, they shouldn't. to keep something like this interesting you need to change not only the notes, but the textures.
you also have what sounds like some technical issues - I'm not sure how the trumpets/bone will pull off some of those licks, especially in the beginning.
also, breathing? what about the chops of the players? brass players need a break every now and then to get some blood back to their faces.
remember, as an arranger, it's your job to not only make something you like that sounds good, but to make it playable technically!
it's a good draft, though - best of luck to you on future edits
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Your tracks always seem to have these awesome instrumentations that I would never have expected...
anyway, the open hihat upbeat seems a bit too loud, maybe turn it down 2db or so
also, I was waiting for such an epic drop at 1:06... you should think about having that background trancish line becoming the main melody for some moar untz untz
other than that, everything is sounding great, can't wait for the next update
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Didn't capture the essence of his overpowering evil or his persona in general, doesn't have any colors of FF VII present IMO.
dang, that's kinda what I was hoping to do.
something sort of like a "what if" scenario - still Sephiroth, just put in a different place/time
anyway, I can respect that, can't win 'em all...
thanks for listening regardless
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...but I fear the judges might find it too repetitive
yup, I think they've shot down quite a few songs that are less repetitive than this...
I'm just hoping the groove bias will kick in and they'll have a momentary lapse of judgment. /sarcasmbutnosrsly
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This is one of the most difficult songs I've ever picked to remix, but I felt it was time to tackle one of the true game music icons in celebration/relief that my album is finally finished - and what better than Sephiroth's battle music?
The mix itself is even harder than C.H.E.E.T.A.H. and follows more closely to Justice's sound than anything else I've done.
...You've been warned.
link:
http://prototyperaptor.bandcamp.com/track/ffvii-badazz
I'm pretty much done with the track unless someone has serious issues with it... next stop, judges!
peace
-PR
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Well, after some more issues and delays (woo), the album is finally released!
Check it out over at
http://prototyperaptor.bandcamp.com/album/penultimate
It's been fun - let me know what you think of it.
Also, keep your eyes peeled for something special here in the next few days... something black winged...
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Thanks for all the comments guys, it's good to hear that you're liking things so far!
The album will officially be released on the 26th (two days WOOT!), so get your speakers ready...
In commemoration of this momentous occasion I've put up a couple of remixes with the promise of more to come, and I'd like to throw out an idea to the community - who'd like to get in on a sort of OCR-artist remix collab?
Basically we'd get 8 or so remixers who also have original tracks out there and remix each others' works - then cut that CD which would no doubt be ridiculously awesome and make the top 40s chart cry itself to sleep...
waht a tweest
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my chain for obnoxiously super loud mixes (ex: electro house/club muzaks)
-saturation (console emulation, something light)
-eq (basic shaping)
-compression (light)
-eq (heavy shaping, especially on freqs that "pop out")
-compression (heavy - and I mean intense, you'll have to automate it for loud vs soft sections)
-saturation (more intense, this step is optional, depends on the peaks)
-limiter (DON'T DRIVE IT TOO HARD! This will squash the sound; you make it commercial loud with the next step...)
-a really badass clipper (such as timework's or stillwell audio's)
that last step is really a good trick to getting a loud mix while still getting punch - most rock/electronic music uses that + outboard clipping to get ridiculous rms values of like -6.3.
but unless you really want that, don't go there. -8 or 9 is plenty loud...
also, you get what you pay for in the VST world. I haven't found a freeware limiter or compressor that can compare to the commercial plugins - and a good saturation emulator is pretty expensive too.
IMHO, of course
DMC-Reboot
in General Discussion
Posted
You know, if they make this game half as ridiculous as Ninja Blade, I might be ok with it.