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.

The MIDI editor in Cubase is perfectly fine - I dunno what you're talking about. The only program I've used that has MIDI programming that's exceptionally better than the rest is Digital Performer.

I haven't really used it enough to say, hence why I referred to the "general consensus," as opposed to my own experience.

I think it's pretty much universal consensus that Pro Tools is an amazing program for recording live audio and mixing, but its MIDI programming sucks.

1) Yeah, you should apply the reverb in Pro Tools, so that you can always go in and change it without having to go all the way back to Kontakt and re-export everything. 2) It doesn't matter that much, especially if you're mixing at 24-bit. If I were you, I'd probably give myself a little headroom on each track, just to be safe - normalize the wav files at -6db.

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/