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Kidd Cabbage

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Everything posted by Kidd Cabbage

  1. I dunno, man. Maybe later on, but my plate's super full this summer at least. :x

  2. No, Strader is right. When I ate it, I did notice that there was a whole lot less barbecue sauce than I'm used to. Guess I'll go back today and order un McRib con salsa barbacoa más. And yeah, it's still a McRib. It's just el McRib.
  3. Bumping this thread because in Spain, where I have been living the past couple of months... THE MCRIB IS BACK FUCKYEAH
  4. Hey man! It has been a while. Just been real busy. Working on films and games now, along with school. And you?

  5. Awesome, man. I appreciate the kind words. I'm glad you dug it.

    And I totally know the Bleed riff that you're talking about, too. Lots of Meshuggah influence in the song, with a dash of Periphery and some As I Lay Dying-esque stuff. c:

  6. So, recently, a short fantasy movie "Spirit's Requiem" was premiered a few days ago. I dunno when it's actually available, because apparently releasing it to the public now would hurt its eligibility in the indie film circuit. But hey, I got the green light to go ahead and release the OST for it if I wanted. If you couldn't guess by the title of the movie, it's very game-influenced (the title itself being a Zelda reference). The director actually wanted a good portion of the music done in a game-like fashion where instead of scoring to film, I was making loops for areas and character themes, so I had fun with that. I made a couple of musical references to some of the games that the movie made me think of, too, as a tribute to them. Anyway, here's the soundtrack. Hope you guys dig it. http://jonathanperos.bandcamp.com/ Some good places to start, if you just want to get a gist of the music, are the Main theme, Shayde, Lament, and Credits.
  7. And to further this thought, a good majority of the time, when violins are doubling, vln I is playing the line an octave higher than vln II. Having this high line will separate the pitch ranges from the metal band even more and help it poke through.
  8. wat I've never seen a synth that looks anything like this. Color me intrigued as hell.
  9. I... wait. No, this is a joke. Right?
  10. As an active dubstep producer, I can vouch that it takes little to no skill.
  11. I'm considering this track pretty close to finished (after a whopping day, haha). http://dl.dropbox.com/u/34206218/OLDSCHOOL4.mp3 I'm just having some worries about the mastering, especially the master compressor at about 2:00. I'm hearing pumping and it's killing me... Thoughts or advice?
  12. The cons of signing to a label is that 1) They're taking a good portion of your money, and 2) They own the masters of your music recordings. Nowaday with the internet, the only thing that labels have going for them is distribution. Most people can produce a decent album by themselves, so it's more rare that labels are there to offer recording advances (which you would recoup the costs of in sales), as used to be the main reason to even have a label. The statutory rate for royalties on your masters is 9.1 cents per song. Let's say you have ten songs on an album and the album sells for about $10. Unless you're sure that signing onto this label will get you over 10x more sales, it doesn't make good business sense to do so.
  13. A good friend of mine from school, Tomoki, is one of the other composers for the game. New trailer up has his music. Soundtrack is going to be fantastic with all of y'all. http://youtu.be/TNaMuedphos
  14. I'm surprised to hear that. I'm so used to leaving the low end as clean as possible. It's my norm to basically high-pass every instrument at like 90-110hz aside from the kick and sub. Is low end ambience a fundamental part of the sound? I assumed most of the ambient noise would be in the mid/high frequencies.
  15. Hey, guys. So, I've got a job for a game where I have to start learning more ambient music, and I am seeking advice, or articles/videos/forums for this genre of music (an ambient music community that I can get involved in would be great). So, a little background on my knowledge. I've been producing music for a good number of years in many, many styles and in many different softwares. I actually know a great deal of synthesis/processing. I've produced heavy dance music like dnb/dubstep for a while, making all of my sounds from scratch. Proof of experience found here: http://soundcloud.com/voidling/siberun-iron-will-voidling But as I'm finding out, synthesizing heavy basses and piercing leads are COMPLETELY different animals than synthesizing layered pads and rhythms. So, the style I'm currently looking to emulate is along the lines of a group called Ludique: http://ludique.bandcamp.com/album/ludique So, anything someone more experienced could tell me would be super helpful! Some example ideas of help: -I know that there are certain conventions for heavy EDM that are standard: always have a sub bass under the midrange bass, carry the groove in the higher percussion and the pulse in the kick/snare, most action in the heavy basses will be under 5k and over 500. Even cliches like the wobble bass or vowel basses. All that, etc. Any conventions to keep in mind that are somewhat standard when working in ambient music? -Any software that I should be aware of as really good? Anyone who makes dubstep will tell you that you should check out NI's Massive (don't argue this, not the point of the thread). So many dance producers swear by getting half their sound from FabFilter and Camel Audio plugins. Any synths or effects that will work wonders like this? (I'm hoping for something to learn to create with, not use presets, by the way). I have NI's Komplete and a couple Rob Papen synths - willing to look into others. I feel like Absynth is basically designed for this, but God does that synth scare the shit out of me; getting a grasp on FM synthesis was daunting enough. -Any techniques that will work wonders on the genre? I'm kind of assuming that tons of reverb and delay on everything is a good start. Again, talking about other styles - House is basically built on a sidechained compressor on the basses to the kick, Neurofunk dnb is basically built around automating notch filters with large bandwidth and resonance. Any similar techniques to keep in mind for ambient music, or even just really helpful techniques? -On the topic of reverb... I'm really ashamed to say this at this point in my music making, but I really have no f**king idea how to use it. Yes, I know what the parameters do, I just mean that I have no way to apply it - I just basically randomize settings (turn knobs) until I find something that I feel is passable (it's never great...). I feel like this is something I'll have to learn some conventions on if I ever want to produce decent ambient music. -Given my background of heavy dance, heavy metal, and whatnot, it's REALLY hard for me to learn the subtlety and moderation needed for ambient music. I'm used to friggin 10:1 compressors and everything blasting through at 0db. Any steps to take or guidelines to follow to help me relearn the boundaries I should be using for more nuance-driven music? Thanks for reading this. I wrote basically a novel only to try to make my points easier for you all to hit. Any of these specific questions are great, or any general topics that I didn't even touch are MORE than welcome. I'm pretty noobly at this type of music, and don't be afraid to give ANY advice because it might be unhelpful (it probably will be). Thanks y'all.
  16. When the goal of MIDI orchestration is to make the instruments sound as close to the real things as possible, understanding the real thing is far more important than learning the techniques on how to replicate it. That being said, what are you looking to pick out of the book, if not just orchestration?
  17. Howdy, y'all. New remix from me of Siberun's track titled "Iron Will." As always, hope y'all enjoy! If you do, I'd love to hear it! http://soundcloud.com/voidling/siberun-iron-will-voidling Soundcloud Facebook Twitter Youtube
  18. Dan's very right about both. Mockups of scores are phenomenal for learning what others are doing, and Adler's "The Study of Orchestration" is basically the standard for learning about orchestration.
  19. Not in contemporary theory. And I don't think Telemann was using 7(#5) chords very frequently.
  20. Basses in orchestral music can be literally playing just about anything. Go do some score study - it'll be far more helpful than us jackasses.
  21. While the rest of this topic is relevant to my interests, the only reply I have decided to make was this. He's right - "Obsidian" is a singular noun, consisting of a conglomeration of its elements. Else, he would say "Are the members of Obsidian making..." which points to the multiple people involved. It's like saying an omelette isn't a single entity because it has multiple ingredients that make up its whole. I'm so glad that I can add value to this thread and not bicker over dumb, irrelevant shit that doesn't matter.
  22. Is this game worth it to play for free? I know there are a lot of f2p games that are pretty much unplayable without spending money...
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