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Everything posted by rig1015

  1. Wow KeyserozeH, I totally heard a second movement coming! I'm so bummed you don't have a direction for this . If you want I can sequence out the melody I heard and send you a simple MIDI of it? But I agree Meteo X. This is done unless you want to add another movement.
  2. I like the direction your mix is going. Rather fun. Advice on drums... are they sequenced (MIDI)? I'm willing to bet they are. One step you can do to make your drums more... well 'real' sounding is to change the velocity of various parts and drum instruments. I don't know what you're using for drums but most drum sample libraries (even general MIDI ones) come with some sort of velocity curve; snare hit at velocity 100 sounds different than one at 50. Also you could try humanizing the drums, by this I mean making it sound more played less programmed. Your drums have a nice grid sound and what you want is a groove sound. You can try re-syncopating things or instead of the event (note) occuring exactly at you could have it hit at, ya'know? Hope it helps. Plz record vocals, plz, plz, plz.
  3. AmR - Chrono (Megah Mix) Please forgive the first 1:18 ... DJ friendly mix time, ya'know? I made this song as a project for school using only Quicktime 7.0 to sequence, mix, add effects everything. Constrained to pre-packaged Apple AU's and all that nonsense. All rendered general MIDI from the Quicktime Synth (AU) ... wait, no. I used some loops that came with the default ACID session. Wave files. They helped make better sounding drums. I actually made a synth-patch I could trigger on MIDI to play the loop back as you held one note . I only used FX's that were available as default plug-ins and staying within the basics; comp, EQ, delay, reverb. I did tricky engineering with making things reverse before hits, but nothing fancy. No mastering. No real mixing either, I guess because this was made in Quicktime... you had a volume number but it was all aural mixing and constrained to head phones, no studio monitors, no VU meters . I was pleased with the end result given the constraints for the project. We were allowed to use any musical works so long as we used Quicktime as the sequencer, I went with a collage of various Chrono MIDI's I'd sequenced back 2000. Input was manual because I couldn't figure out how to patch in the oxygen 8 into quicktime in order to sequence the MIDI data, I know now, but it made everything difficult during the sequencing stage. I was just wondering if this GMidi project is worth revisiting to make OC worthy? I posted for a Life~Faraway promise remix I made called Destine from Chrono Cross, but I got the "source? not enough." critique. This has (minus DJ mix time) lots more source... at least the way I remember it. I'm not Ninja enough to make a map of the source used .
  4. rig1015

    Star Trek

    Star Trek II: The Wrath of the Franchise
  5. 3/4 or 6/8 but those can both be counted 6/4, 12/8 as well if rhythm doesn't line up. Anything but 4/4.
  6. You all rock !!! I'm going to go into studio one last time on Tues (May 19th) with this baby and pound out better EQ-ing and talk to my man about getting a basic master bounced off the Neve. She will have one more work on before I submit. Thanks for the, "ya'know... do it!" attitudes. Gario... thumbs hi.
  7. Of course I look like the ass. People are twisting clarifications. No worries. I just wanted to know what the dominate DAW's were in use so when trying to help others I would know what sort of interface to talk through. Rule of averages I guess. I have that info now. Somehow along the way I said FL was bad software, and MAC were better than PC's etc. That was not my intent. I use PC... love my PC, ACID, Reason, and Cubase... I even amateur master in Sound Forge because I love that app. too. When I got formally trained in Audio Engineering I noticed definite differences between the apps/plug-ins I used before hand, and the ones I use now. I never used a MAC before either, now its all I want to own... they're just so $$$, but I have two. The BIOS talk; seriously?! It was all just over the fact that I run Boot Camp on my MAC, I notice a difference with how my drivers load in Windows verses how they load in MAC. I won't argue the merits of Windows OS verses MAC's OSX, this isn't going to turn tech... each has there own pros & cons. But I will say that loading hardware interfaces with a MAC is as easy as plug & play. Were as with a PC you must install drivers before it can fully utilize the interface, most of the time. I only brought up the whole concept of MAC's Vs. PC because I thougth I would get interesting responses since most of the users here were PC users. You all probably had some interesting querks with how to handle the PC, I wanted to know those. Probably the same way MAC users reconfigure coreaudio. Everything about making sound is interesting, every proceedure. I wanted to talk about noticable differences between to things not spread anger for have them. Can we lock it? Too touchy.
  8. And rightfully so. It is a great gateway app.
  9. Yoozer chill, You missed it with my Pro Application remark. Go into a professional grade studio and see what apps they interface with for DAW's... watch the statistics change. I said it because well... what are the pro's using? One of my best mixes came from ACID so I completely agree with you. Also will XXL bundle your plug-ins when you save project and create a folder hiarchy for the whole thing so you can run it stand alone (without the plug-ins/samples installed on the other machine)? I also feel that they are pro because go try and hack ProTools... you can do it but it is a bitch, same with Logic. Anti-piracy helps define your pro-status, I mean shit, I have to carry my iLok every where and I hate that. I agree with concept of "just using an app" but the more stable the OS the better the application runs, because YES you are dealing with OSX first then Logic. And the way these two OS' (XP v. OSX) interact with your hardware matters. If I boot into Windows XP the BIOS has lots of trouble with using my Digi003 (mostly slow loading and constant tones saying "found new harware"), were as when I boot into OSX EFI has no trouble making the necessary adjustments. Go perform live... gonna use a windows based PC? Most people wouldn't, I don't doubt that probably your PC is some exception to that stereotype, but stereotypes exist for a reason. I do some work in Windows, and I do some in MAC becasue my MAC does both OS'. Not trying to step on toes.
  10. Bitch Smack... (No one here likes being told no. I don't really care. You can't hurt my ego...! It's too big! ) You mapped it out... wow... theory & all... wow... *thumbs-up* I don't think I can get the source higher without it getting into my artistic aptitude. I feel using that much source should shorten the song to about 4:00... why you ask? A: I insist on making there at least a 1:00 to a 1:30 of wasted time (not source) because I make EVERYTHING I do/remix DJ friendly. I could make this 80%+ source but I would loose all my "friendly" mix time; OR keep the time and go into a 9min song... but then you'd want even more source, and that would just be too loopy. I made this mix for a crowd so it will have to stay within the constrains of crowd arrangements . I have a theme from Wind Waker in the pipe that I really want to make OC worthy. This track is a "something project" that I through out to OCR because of its hype-a-tude. PS. Track closed out at #2 on the video game charts (www.soundclick.com).
  11. A - First playthrough B - Second playthrough
  12. Wow so FL runs the beats here huh... I guess that's understandable. I'm not surprised to see the true professional end applications in small numbers. Does FL7 Pro have rewire so I can use it in ProTools or another PC based DAW, much like you can Reason in Logic or ProTools? I'm thinking of reinstalling that on my PC side to familiarize myself with the interface, but only if it doesn't run in a stand alone shell. Oh & I titled it that because of the argument "which yields better results for audio, PC or MAC." I know it's probably a touchy matter here too, but I was curious.
  13. Updated mix This is 5 more hours working on the remix, 11 total. :: Changes :: Totally revamped most transitions. Added a second bass line to support the first (I felt the bass was missing in the 1st mix). Added back 16 bars of source missing from first bounce!!! Reworked the drum line. Added in wider, faster Hi-Hats. Dropped out the square lead and made it more orchestral. Re-Mixed every fader. Re-Mixed both drum machines (MPC). Placed EQ on master fader to boost song shine (10 kHz and up). Added 100+ points of automation across the entire session. :: Problems :: Having a couple of tempo and lead issues that I already know about, but these are caused by the size constraints and the fact that I'm working the tempo at 135 BPM (any suggestions?) EQ-ing is needed on the lead orchestral melodies so every instrument has a place... "tighten-up the mix." I still feel that the drums need another pass, not engineering wise but rather arrangement wise, more ad-libs on the drum patterns I guess is how you'd say it FL-lingo. I know how to fix the problems mentioned (say one) I just didn't have the time in-studio today, and I don't like mixing on my control surface at home. Thanks again Gario for the bitch smack; helped me make an even better mix for the live set now, cheers. Beyond engineering critiques I'm pretty much setting in for the "done" mentality on this track. I'll give it one more session in-studio and then I'll lock her out.
  14. I feel like I am probably the only member who works in MAC... Any other Logic or ProTools users out there?
  15. It's only complicated due to lingo. Make MIDI's at A, because making notes is easy at A, but making a pro-sound is hard. Move MIDI to B because here making notes hard but NOT a pro-sound. Sequence in one DAW. Program your patches, FX, etc. in another one. All free, no money spent upgraded sound, that is the goal right? When we want to spend money totally different options become available. ProTools SUCKS and sequencing compared to Logic, and Logic's Mix Bus SUCKS compared to ProTools. So... you sequence in Logic, Mix in ProTools, you don't go out and buy an AWS-900+ series console.
  16. rig1015

    Star Trek

    The new Trek was good. If you expect the old trek watch the old Trek. Here at OCR we should ALL know about remaking things! It isn't going to be the same, period. But it wasn't a disappointment. The only beef I had with the movie was a plot critique: Why did Paramount hire lazy people who weren't die-hards to write the script? My meaning: We change time, thus the Star Trek universe in Star Trek 1-6 is mute. The new story now dosen't have to obey ANYTHING those older 6 movies say happened in their past, the can change everything... bummer... so now it is like we have 2 Original Star Trek universes .
  17. Depending on tempo and soundscapes it could have a real Above & Beyond feel to it.
  18. All with a grain of salt. I think I'll put more than 6 hours of sequencing into this mix. I seemed to have forgotten that as gamers where are very critical of the games we love. I missed an 8 bar melody in the song which makes me feel stupid... but I was doing this mix live through Ableton so I can't really argue... listening to it makes me think similar thoughts. It is just hard to choose to work on a video game song in ProTools HD when studio time is expensive and we are in a recession . But on the flip- Yesterday this song was #12 in the charts, so not OCR worthy, but gamers still love it!
  19. StandingInMotion, have you ever considered working across two DAW platforms? Like the way I'll sequence in Logic but mix in ProTools. You could write out all your sheet music in Finale and then export that score as MIDI file. Then import the MIDI file into the newer DAW that seems overwhelming and viola! your sequencing work is done, now you just pick sounds and fine tune it.
  20. Sweendrix this is shibby. You should find a way to bring you drums in and out for break downs but it is way chill. Santana-Gerudo.
  21. Good point about source. This track is difficult though because the source is only a three chord sequence, four at best (Gmaj, Amaj, Bmin) so I was wondering how many times you can hear that progression before you feel too looped. The melody is pretty basic. I had to alter and rearrange the whole track to properly fit within the 6min time frame and still develope correctly. It's sad to hear that you think it isn't OC worthy. It is a really loved piece in my performance set and I get asked about it often.
  22. It's like a beach guitar had a baby with the halo melody. You can do well with it. I had a couple of ideas for direction with it while listening. Make the drums dynamic (come in, go out) and the give a higher pitched guitar lead to follow and it should be a pretty solid chill track.... that is IF you want to start the project again.
  23. "Trip to the surreal of it all," This is a beauty. In fact I have no critique just ideas. Use your DAW and make a mid range choir hit (on "Ah"), with a decent tale. Then bounce the hit(s) out of the DAW as a solid wave file. Reverse the file in some wave form editor. Now you mix the sound in right before something hits or changes (like when the drums come in) and you have a decent transition FX to bring us into it. Try this technique on your leads, pulses, and pianos. With the ambiance the way it is on the track you can do well by giving us the echo before the voice. Hoping for a finished sample. Riggs AmR ][
  24. First; I find a melody or rhythm that moves me. Learn the musical theory behind the song. Load MIDI into DAW, or play melody if no MIDI files are available. Change or remove controllers/patches/program changes (if any present in MIDI file). Give each note a synth. If drums fit I work them in. Arrange layout. Generate transition FX's (cymbal splashes). Automate everything. Listen to the track. Listen to the track again. Listen to the track one more time. Bounce from DAW Open in waveform editor (Sound Forge, Peak, Cool Edit). Master using EQ and MultiBand Dynamic Compression. Save as WAV uncompressed. Save as MP3 with all tagged info & album pics. Upload to interweb. Have everyone tell you how much they hate it. And that is where babi- err... songs come from.
  25. Hi-Five for the info... I'll do that. And Meteo, thanks for telling me where to post.
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