Kidd Cabbage

Some Embodiment of Scarlet Devil in Heir Conditioner, eh?

Honestly, I can't give you any numbers because when I mix a track, I do everything from scratch and I don't look at numbers (aside from level meters) - I just use my ears. What I can tell you is that on a limiter/compressor, having a longer attack on a real hard compressor will get you more punch and attack. You might think "less attack on the compressor means that the attack is compressed and louder, too!" But in reality, with the makeup gain on a compressor, if the attack take a couple milliseconds to kick in, then you have a couple milliseconds of attack where the sound source is pushing through without the volume being dampened. It helps shape the transients of instruments like this. And Zirc, I'm curious as to what compressors you like the sound of.

I vote for Meowsynth and a picture of my penis.

I've never made a song in my life that I haven't used a compressor in mastering. At least since I've known what I was doing. Even ambient music uses compression so that the softer parts are audible. Not necessarily "punchy" in ambient music, but any other music that you want punchy instruments in, there's no reason the track can't be punchy.

Yeah, I'm going to have to go ahead and disagree with you there.

I eight it.

...Electro house?

128bpm and a sidechain comp. SOMEONE IS MAKING HOUSE! iyell

VIP remix of my jazz/pop piano song "For the Emptiness I Feel," found here: http://soundcloud.com/kiddcabbage/for-the-emptiness-i-feel-dnb I hope y'all dig!

I JUST WANTED TO MAKE SURE THAT PEOPLE KNEW WHAT THEY WERE LISTENING TOyametoo

I jack off to the thought of him jacking off to the statue of David.

This one time, I took advantage of a passed-out drunk girl and slept with her limp body. It was probably because of videogames.

Yes. The simplest way to understand it is to take a melody or rhythm, chop out each note, and put each note on a different sounding synth/instrument. That'll get the point the across to your ears. The trick is making it sound good.

You're thinking about it the wrong way - these sections aren't about tonality. It's about bringing in different timbres. This is pretty much solely sound design, not music in pitches or harmony,

Of course, Sony made the first move.

That's not really a synth sound. It's basically a resampled orchestra sound. So, to get it, you're going to have to do some extensive resampling. (Use an orchestra VST and record some notes/chords onto an audio track, then take that recorded audio and load it into a sampler and mess with it. This is how a lot of these sounds and SNES sounds came into being.)

Yeah, this is just a clap with a bunch of reverb. This is actually really conservative in the scheme of electronic music. Check out the claps on some of the old Roland drum machines, and throw some verb on them.

I never once mentioned or implied anything about the quality of it.

Hence why I said that nobody has released sales numbers. Revenue is really all we have to go by. These numbers also don't incluse piracy, and I have a good feeling that a lot more people pirate FL than most other DAWS. However, what I said stands about OCR being one of the most densely FL-oriented communities I know of. Everywhere else I go and read, there are far less people using it. A lot more people using Protools and Logic especially.

Missing some instruments, microphones, laptop, and some rack effects, but this is my mixing area.

You've been spending far too much time on OCR, sir. This forum has a huge ratio of FL users, but in most of the music-making industry, FL's a little fish in the pond and doesn't come close to Protools, Logic, Nuendo, or Cubase. No company or retailer has released their sales numbers, but going off just revenue, Avid makes an annual $844.9 million, Steinberg makes $17.5 million, and Ableton makes a lowly $1.7 million, still over double of Image-Line's $0.79 million Source: http://www.hoovers.com/

Yes, excuse me for disputing a point because someone is offering advice that will hurt the OP more than help. And I missed this before: SymBiotix, nobody ever claimed that GLL said that metal mixes are going to be released in mono. What we're saying is that having the stereo spectrum is imperative in the placement (or even use) of instruments and overall decision-making in both the arrangement and the mixing process.

Haha, no, you see - that's something that makes sense. What he said was: Not that mixing and arranging should be referenced in mono, but that you only use stereo for mastering. That's why it's the worst advice I've ever heard.

The last page I just kind of skimmed because it's pretty bullshit, and this is starting to give me diarrhea, but I will address this post: This is what I mean - panning has a lot to do with arrangement - If all guitars are mono, then they WILL walk on the snare and vocals. Tensei is absolutely 100% right when he says this and that almost ALL metal has hard-panned rhythm guitars. Haha - you say that this has to do with 'modern mainstream metal producers getting the ability to mix their own stuff.' Listen to Angel of Death by Slayer. One of the most-renowned classic metal songs of all time and it starts off with the most obvious hard-panned guitars, which last through the entire song... and the entire album... and their entire discography... and pretty much the entire genre. It's only bad arrangement if you plan on releasing the song in mono. If you open up the stereo spectrum, then there is plenty of room in the imaginary 3-dimensional spectrum to move things around and find space for things. EQ isn't the only way to make tracks work together. EQ is the vertical axis in the spectrum, panning is the horizontal, and volume is the length. This is basically mixing 101, here. 99% about every metal band out there, mainstream or not, classic or modern, even if they have one guitarist, will record at least two rhythm guitar tracks and hard-pan them.

Well, thank you for the kind words! I'm glad you like it!