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rig1015

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Everything posted by rig1015

  1. So I listened to your update and this track still rocks! But as I kept letting the beat synths and everything hit me the tailing on your high ends kept bugging me. It seemed noisy. Not like the noisy we get with hiss on a mic but noise in a sense that hi-hats cymbal taps (*Ksssk* sounds) seem to fill rhythmic gaps oddly, acoustically (does that make sense?) I guess I would say, "the tailing for your hi-hats seems funny when the bass frequencies aren't hitting". If I were trying to fix it I would take out the various layers in the cymbal patterns and see which seemed better, worse or needed. But this is a MINOR crit. Like I said this still ROCKS!
  2. It has a quality to it as a minimalistic styled song. The one problem I felt as I listened was that nothing caught my ear and said, "now the track is sick... now you wanna dance." Maybe a percussive styled synth or pulse... whatever it is, make it catchy. My only other crit would be make your 32 counts more interesting / dynamic... take something away and give it back right at the next 1 count (bass normally works best). These are all ideas, keep going.
  3. Gaeta's Lament (Vocal Remix) Electronica styled remix, sung by a Cylon Centurion. Thought it'd be fun to post.
  4. Yeah! like Direct Stream Digital with a sample rate of 8.233MHz !!
  5. 5.1, 6.1, 7.1? There is a catch to the concept "setting up you surround sound system." Are you fitting the speakers to the room or fitting the room to the speakers? Are they consumer level surround or full range near fields and a sub? I could go on with technical questions but that sucks. When studio mix down into 5.1, 6.1, 7.1, whatever; they are mixing for the theaters not for your house. Theaters have arrays to handle the surround sound (L Rear and R Rear) and are main mixed for even field saturation / no hot spots (the audience is a big area not one seat). So it really doesn't matter how you set your house up but the pros will tell you something like this:
  6. Betcha there are students who probably don't even WANT to be int eh elective... that was my problem in high school with Elec's.
  7. LOL And the genres for all the worlds music would be Sine, Saw, Square, and Complex.
  8. Wait... you can't have something until you master it? But you can't master it unless you have it to practice... but you can't practice on it unless you have it... and you can't have it because you're not good at it? Lame. (sorry to post... I know collabs only )
  9. I like this. I would share your string line with other orchestral instruments. I would also get an ethereal choir in there, esp. on the drum parts. Engineering crit. Your strings are harsh on the their mid-hi's (1kHz - 4kHz) give a nice soft bump down there (0.5dB to about 3dB), they're just ringing in my ear to hard.
  10. Need more trippy.... delays, phasers, flanges. Also I kept wanting the song to build into some sort of fusion-world-synthesizer-electronica climax of the main Corneria theme. You got good samples with a solid sound in the mix. Give us some drums that would make Aphex Twin proud, some synth work to hyp'en it up and it think you got a winner. But... that's JMO.
  11. Logic 7.2 Pro When you drag your apple loop onto an Audio Track, a box in the upper left of the arrange window says "Follow Temp:" un-check that and your loop with play back at the recorded tempo. Of course, it will be out of sync unless your recording is the same tempo / groove as your song. If you want you can set the loop region / bars to the length you want the file to be and you can use the "Adjust Region Length to Locators" function in the Audio tab in the Arrange Window to make the file the length of the loop region. IF you are worried about maintaining pitch you can try and use the Helper tools Pitch Shift and Pitch Corrector... I'm not sure if they are Pro features or not. I've not had to do this yet at the studio on Studio, so I'm not sure on its procedure but it can't be THAT different. Hope you got some new ideas.
  12. UPDATE: Sorry for the bump but I took the crit. Neblix gave about the tempo being "to fast" at some moments. So I did tempo bends and made it slower when needed. Probably only one more pass before submitted. Enjoy.
  13. My first guess would be the BW values, those little nobs under the frequency nobs. Second guess would be the #5 area where it says HiQ... that might be how you make it a really narrow spike... as you select each band see if that lights up a little or if you can select it for each band. And the #2 area is the gain area for each of the bands... 7 bands... #1 and #7 are shelf / filtering EQ bands #2-6 are notch EQ bands Edit: You know you probably have a wide enough Q by default on your #4 band give it a subtle boost on the master fader and see what happens.
  14. As is this is an awesome big beat track! Love it. You got it handled, just be careful how much drum you add. Edit: And I'd say your equipment works fine. What'cha running? Its good to see another soundclick user.
  15. Oh yeah... I'm all about the dirty bass.
  16. I'm always trying to make the tracks I remix sound like something you could honestly and/or suddenly hear a DJ play in club... 'Cause honestly, could you freak out anymore than if you suddenly heard a beyond-hype-trance-version of a Zelda or Metorid theme play while you're having a great night clubbing?! A little esoteric, but screw it, you enjoyed it... and as long as everyone else kept dancing... WHO CARES!
  17. I hear like hardcore fast paced drum'n'bass drums to this. Consider it. Also dig around for a VST or synth that will give you a dirty bass sound that you can distort and then side-chain for the usual wobble. Could be fun.
  18. That is because you haven't learned about the magic of the frequency spectrum, once you understand better what the human spectrum is you'll be able to make these "quick fixes" Only because I like your mix I wrote you this story; :: First :: Things you should know about EQ's that are consistent: Equalization is basically the boosting or cutting of specific frequencies. We call it Equalization instead of freq boosting / cutting because it "equalizes" the frequencies into a nice even response. EQ's are normally defined in quality by the number of bands the EQ itself has. A 10 band EQ is going to be "better" than a 2 band EQ. Is it really "better"? No, it is the mathematical algorithms that give the EQ its sound that make it "better". You'll probably want to stick with using plug-ins since running the concept of out-board gear by you would take ... too long. The easiest way to define bands is- the area in which you can alter the frequencies. Take a look at the example link; example of a Waves 10 band EQ. See how many points there are? 10 in total. Each of those points is a "band." Ta-dah! The next thing to understand is Gain. Gain is a value on each band that controls how much you boost or cut the frequencies. On the example link, it is the value next to the "TYPE." So if your band is at 1kHz and you turn your Gain up +3dB you'll here a more Mid-range tonal appear. The more you turn Gain up the more resonant it is. You should be a bit familiar with Gain because of dealing with inputs and faders in your DAW. Next is Frequency. Frequency is used in so many tech trades you better get your head around it now. Normally it means how often something occurs; so in audio engineering its how "often" does the vibration occur. Our ears as humans can only hear form 20Hz (low / Bass) to 20kHz (high / Shine). Most EQ plug-ins work within this range so they can boost or cut anything that the human ear can hear. On the example link Frequency is next to value is next to the Gain value. A good EQ will let you move any band to any Frequency. And now it is Q. Q is probably the trickiest thing to understand on EQ's. If you look at the example link- at band #3- see how it makes a spike? When you change your Q value that spike will either get thinner or fatter. The Q on band #3 is rather narrow The lower value normally means thinner and higher value normally means fatter, but each EQ is different; move the value on yours to see which way is which. :: Second :: Now that you understand the terms: All I did was apply a EQ plugin on the audio track I loaded you song onto, and then applied those values. "I boosted your 500Hz buy about 3.5dB on a wide Q (0.18 )" Translated: Gain - +3.5dB Freq - 500Hz Q - on my it was 0.18 which was wide, 1.0 is default so I made it wider. This value could be anything depending on EQ but I basically I had it wide. :: Third :: Now I only told you ALL this because I EQ'd your mix like this and I liked the way it made it sound. It sounded thicker, more full. All in all there are a number of ways you could fix this problem; one is doing the method I suggested. This method does have a big con though: what ever you do to the EQ you do to the WHOLE mix. Another suggestion is taking another pass at the mixing end and playing the faders more towards the 500Hz tonal frequencies. This could be tricky if you're not really seasoned on audible mixing. You could phase cancel other frequencies to boost the missing ones but I don't even want to get started on MS techniques. This is all the art of audio engineering. Enjoy.
  19. I liked it. Dark, slow ominous. Very Norfair-ian Your samples aren't, weren't, that bad. If you want try playing around with harsh EQing and a radical impulse Reverb to make it sound like it is in a different environment if you don't like how it sounds now. It did feel a little long though. But that could just be me.
  20. RU talking about the Event window? I know in Logic 7 Pro you can COMPLETELY customize the short keys, MIDI controllers, and interface. I never took the time to learn in Studio, but I'm sure the didn't pitch that function in 9.
  21. Well if it's broke, open that bitch up and see what broke... you might be able to fix it with some solder!
  22. Comes (came) with Logic Pro 7 when I bought it, and has updated into Logic Studio (Logic Pro
  23. Beautiful replies. I agree Harmony Win-Win. When I first went into studios to work old timers would give me shit for using my eyes "too much," so I spent like 6 months trying to learn how to to aural mix only. If you start Aural and rely on Visual for the fine tuning I think that you get the most ideal sound for yourself.
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