Ravich

Contributors
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    90
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About Ravich

  • Rank
    Dan Hibiki (+75)

Profile Information

  • Location
    Oregon

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Logic
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar
    Piano
    Vocals: Male

Converted

  • Real Name
    Ben
  • PlayStation Network ID
    BRavich
  1. I see. I wanted to clarify because there is also plain old "Shreddage 2" that doesnt have any of the other stuff. Regardless, I'm going to pick up the bundle and see how I like it compared to MoR, which is the only similar library I have.
  2. What you described as "Shreddage 2" actually sounds like what is in the bundle, unless I misunderstood something.
  3. Very interesting. Thanks for the link. I think I'd personally be disappointed to have less variety. The bundle says it has shreddage 2, shreddage classic, and shreddage bass. Shreddage 1 seems to be referred to as "Shreddage Complete" on the product page, and I was going to ask what the difference was, but then I saw the video you just linked said there was no reason to use shreddage 1 as long as you have the shreddage classic expansion. Anything I should know on that end?
  4. Jeez, you act as though they dont have sales to make money or something. I'm looking.
  5. Very well. When precisely does the sale end? Is there a point to picking up shreddage in addition to shreddage 2?
  6. Right, so theory can be used to help determine what doesnt sound good (or what does sound good, for that matter), but it cant tell you what does or doesnt sound good, and I think that concept is lost a lot of the time when it gets taught. I always cringe when theory students have been conditioned to wince when they hear a parallel 5th (or are just told that there is a parallel fifth and then it is played for them).
  7. Yes, that requiring the 2 of those things together is incredibly misleading to theory students. And following voice leading rules will only sound "good" result with an extremely generous definition of the term "good." Adequate would be more accurate. If it really sounded good, computers would be writing music. I've tutored students struggling because they have a theory assignment that expects them to "compose" (assignment's words, not mine) something following these rules, and be evaluated based on how it sounds. It's not like these are composition students either, these are just theory students. So my point is that it's no wonder that people are confused about theory. Curriculum regularly treats it as though it is a formula with which to compose.
  8. I'm not sure how you managed to extrapolate that from my post. There's an entire second clause to the sentence you quoted that you didnt acknowledge at all.
  9. To be fair, that is what plenty of the coursework forces them to do, and I'm fairly certain that there are plenty of theory instructors that dont understand that theory doesnt work that way. I know more than just a few students that have shared stories of how their teacher would make them do voice leading exercises where breaking "rules" gets you points docked, and then they'd also get graded according to how good it sounds. Most often I think the curriculum is to blame for the misconception. There is far too much focus on cut and dry statistical analysis instead of connecting overarching concepts, which is why it took me such a ridiculously long time to realize that ritornello and fugue are the same god damn thing.
  10. Sorry, but this is not correct. Theory came about because people analyzed music and put labels on the trends that had already been established. Mozart didnt have any clue what sonata form was. He just did what he heard Haydn and other composers doing.
  11. Definitely prioritize ear training over theory. It's always very important to keep in mind that music theory is descriptive in relation to music. Not prescriptive.
  12. Correct, but it still limits you to one of each instrument type. ie if there is already a trombone, the other slots will have trombone grayed out and say "already in use"
  13. Hi, I recently picked up Session Horns Pro for a project that needed some extra brass, and I'm having a significant amount of trouble figuring out how to... get a decent sound out of it. The first thing I've noticed is that there doesnt seem to be an option for a single instrument section. Either it is a solo trombone, or it is a trombone, bass trombone, and baritone sax, or any other mix of instruments. I can have 2 trumpets playing, but for some reason they have really weird panning, causing one of them to be very left, and another one to have this breathy texture only on the right. I also find that despite having the exact same reverb settings, instruments often sound like they are being played in COMPLETELY different spaces. Generally it feels like I have almost no control over the sound, the instruments sound thin and anemic, and I'm struggling to even make it sound usable next to kontakt basic's brass. Am I missing something?
  14. Anyone upgraded to Session Horns Pro from Komplete 10 (not ultimate)? The Session Horns Pro page says that you can only upgrade from Komplete 9 Ultimate or Session Horns, but I assume they just havent updated the text? Support hasnt gotten back to me in 72 hours.