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Everything posted by Brian

  1. Alright, from what I've searched online, the 4 contenders are: Roland Fantom, Yamaha Motif, Korg Kronos, and Kurzweil PC3K. Roland Fantom G is discontinued. I think there's going to be a successor to this. Yamaha XF8 is in need of a successor! The jump from XS to XF was minor at best (expanded flash). I'll check out the rest if they have them in stock.
  2. Budget: $3000-$4000 A lot of keyboard workstations (88 keys) fall under that price range. What keyboard workstation would you get for DAW work? I'm not doing anything live. I also would like to play on it when I'm relaxing and not doing anything on the computer. So please don't say "get a midi controller instead!":tomatoface:
  3. Yes I'm in the process of upgrading them to the K601 headband. The bumps under the K701 headband is aggravating. Though, now that I've upgraded them, the price is no longer $200 (now $280). The upgrade wasn't cheap
  4. I no longer use my K701. They're in great condition. Selling them for $200. PM me if interested. Paypal and shipping is included for US buyers. I can ship international, but you'll have to pay the difference. K701 are great for detail retrieval, monitoring, and mixing. Edit: I've upgraded the headband for an additional $80. It's now $280. FYI, the stock headband is painful.
  5. I now know where all those peaks were coming from. It was the sub-bass to lower-bass. I can't lower the levels on all bass instruments without making the song "bassless" (not frequency, but the instruments themselves). A multiband compressor helped tremendously. Followed by a limiter that I only used lightly. I'll need to tinker with the multiband compressor a little more, but the results were promising.
  6. It's 16 min long so I was hoping there could be a quick fix Guess not. I'll re-record it then. The problem is I don't want to re-record 16 minutes of the medley over and over just to analyze the waveform then make corrections -> rinse and repeat. That would take hours or even days just to do that This is an orchestral arrangements and the commercial ones have an average RMS power at around -13dB more or less for loud passages (not talking about the ones that are heavily compressed with "natural" peaks lopped off). What's your strategy for analyzing your songs in real-time? Edit: I should mention I use only midi to communicate with my VSTi and digital piano. VSTi isn't a problem, it's the fact that I have to record the analog signal from my digital piano that I have to sit and wait through the 16 minutes of my life.
  7. I have this very large peak that needs to be attenuated, but I don't know where to begin. I believe a compressor is used for this purpose, any tips?
  8. Thanks, but I've already found them. G-Town Church has great anvils, and it's free too.
  9. I'm in need of a high quality anvil for my arrangement. There's all sorts of anvil sounds, so here's the theme in question . Please pick the best anvil sound that you think fits this theme very well. It'll be placed on the 4th downbeat in each measure.
  10. Yeah sorry about that. I didn't know lol. 16 per port (minus the channel 2 on port 1). So I have total 30 channels + 1 percussion channel (10).
  11. I found out channel 2 is reserved for something else on the piano, it's not broken. I just found a way to use double the amount I have! In Midi Settings under Output, there was two ports I could use. I simply set the first one to port 0 and the second to port 1, and it worked!!! They are treated independently of each other. I just hope I don't use up the second one
  12. Yes, this is possible by editing the events or via automation. Though In FL it's represented as percentages and not 0-127 (yuck). I have no problems with changing the Prgm patches, but Bank LSB (CC#32) doesn't seem to work. Bank LSB (CC#32) for my piano is used to change instruments of the same Prgm patch. ie. Grand Piano 1 (Natural) and Grand Piano 1 (GM) both share the same patch #, but their Bank LSB is different (122 and 0 respectively). I have a manual containing all the CC# and midi data.
  13. I like to keep things organized. On an orchestral score, they are organized from top to bottom starting with woodwinds and ending with strings. In order to overcome this, I could change the instruments during the song. However, there's more to it than just changing patches and banks. There are other CC midi data that needs to be changed respective to that instrument. It's a trade-off. Either it's organization and speedier workflow, or getting around this limit. But 15 min of music, 500+ measures, and over 20 instruments is ridiculously cumbersome to keep track of. It's a medley. This may be the ticket If I have two tracks that share the same channel, will it automatically switch to the new midi settings of the other track (assuming they aren't playing simultaneously)? Edit: To answer my question, no. Muting didn't even work (channel conflict still occurs even when it's muted). I even tried changing the Bank LSB (CC#32) settings via automation, still no (problems with switching instruments). I may have to run 2 FL Studios. The ends will be the same, but the means will be kinda disorganized and separated. Bounce the tracks from FL 2 and import them into FL 1. Any changes that need to be made would then have to be edited in FL 2 and rebounced again and again Wait this sounds like a rewiring situation. FL2 as slave and FL1 as host, or something like that. During playback I can disable Midi output from FL2 and listen to the audio tracks from FL2 + Midi from FL1. This saves me from having to export/import the wav files. Brilliant! but... I don't know how to do this lol:tomatoface:
  14. My external digital piano only has 16 channels (actually 14 and the drum channel [10]; channel 2 is not usable for some reason). I'm sending midi data from FL Studio to the piano, which plays back the notes in real-time, and is then recorded to the ADC and into FL Studio. I need more channels, but I'm out of it. Any suggestions on how to overcome this? Any workarounds? I don't want to have to bounce the tracks; I'll need to be able to edit notes on the fly.
  15. Great tips! I'm an amateur at production. I'm working on a 15 min orchestral arrangement, and so working on the production is extremely tedious. They say take breaks in between to refresh your mind. These ongoing breaks is fine for short arrangements, but this long arrangement has taken me 4 years now (on and off). Everytime I refresh my mind, I end up changing it over and over again. If I compare the beginning of the arrangement to the latter part of the song, it's too different and inconsistent production-wise (ie. the beginning is quieter, the latter is louder, which is unintentional). It's been plaguing me for years. With a shorter arrangement, everything is closer together thus fixing production issues is much easier. Not with this medley. I need to find an efficient way to make it sound well balanced and consistent throughout. An orchestral genre has a lot of dynamic variance. I need to make it sound "human." Note velocities are all over the place. I have over 20 channels and over 500 measures to work with Also this I'm just getting no where What should I do with an arrangement this size? I'm afraid of using the compressor on this kind of genre. Most of the time I adjust the note velocities, but going over 1000 notes individually is just too time-consuming. I need to come up with a standard to streamline this process on the entire medley, not just the individual subparts of the medley. Any suggestions?
  16. Smyth Realiser A8 -> THE ultimate surround sound you can get for headphones! With this I would take it to my local recording studio and have it calibrated so I can mix right at home with my headphones as if I was mixing on monitors at that studio! You can do it in any environment: concert hall, outdoors, your car, your room, your parent's room, your boss's office, dance clubs, home theater, movie theater, etc... An audio engineer's dream. This takes mastering to a whole new level! The problem is... it's $3000 Well it does include the Stax SRS-2050 II ($750) just so no one dares trying to calibrate it on a shitty headphone. If only I had cash... Oh btw this works for gaming as well. I wonder what my local movie theater environment + gaming would sound like.
  17. yeah, making medleys isn't that easy if you only have a limited number of songs and the songs don't connect. If that's true, then it's better not to make it. A lot of the medleys feel "forced." Forced as in they force songs in there when it isn't even necessary. Hopefully I can complete my Legend of Zelda medley to demonstrate a good medley.
  18. As a big fan of medleys I decided to share my knowledge in the medley making process. I've heard good medleys and bad medleys here on OCR and elsewhere so I thought I'd take the time to write a couple tips on making medleys. 1. Have plenty of songs in your brain's music database (obviously). 2. Avoid repetition (keep it fresh). 3. Set an approximate time limit for your medley (people generally don't like it if it goes on and on). 4. Don't play the entire song. What's worse if you do this several times back to back, this is just basically slapping together a playlist of songs and not a medley. People want something refreshing, something creative and new. The more unpredictable the medley is, the better. If I can predict in the next 4 minutes that it's still going to be that same song, you're doing it all wrong. 5. Overlapping tunes: If you truly want to overlap two or more tunes that doesn't sound like shit, apply your knowledge in music theory to see what works and what doesn't to avoid dissonance. If they're slightly different, you then have to alter the melody so it fits the chords or vice versa. My rule of thumb for overlapping tunes is to use a maximum of two melodies. Three is really pushing it. Four will sound like a garbled mess of incomprehensible sound (avoid at all costs). The most Important rule of all! 6. Transitions must flow smoothly. Don't be a jackass and insert songs out of nowhere without putting any thought into it. Is there a song that you like but just can't use it? It's better to avoid it than forcing it in there and making it sound out of place. I get this all the time. That's all I have to say. I'll add more if anything comes up.
  19. Thanks for the help! going by the latter definition, if I retained the original vocal (through phase inversion) and added a whole new instrumental background track with a different style/genre (ie. electronic music); that is a remix?
  20. I've been pondering over this question ever since I got into arranging for piano. Can someone explain to me what's the difference between a remix and an arrangement? If I created a song based on some composer, would I label myself as an arranger or remixer?
  21. I made an orchestral medley of the boss theme, vaati's battle, and a little bit of vaati's wrath. It's on http://wzmrradio.com/.
  22. I've been spending several minutes on this trying to get channel 23 to link to the master volume track. I mute the master channel to see, and channel 23 still goes off. It's routed to the master track (Enable send from reverse kick to master). What's funny is that it does become louder if I max out the master volume, but it doesn't mute if I mute the master track, or quiet down if I set it to 0. I remember having a volume envelope automation clip for the reverse kick, but I deleted it as I no longer needed it. I tried another test where I created a new track and set that to channel 23 also. Samething... There's something wrong with channel 23. Summary: It's as if channel 23 is routing itself rather than to the master track.
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