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Everything posted by ectogemia

  1. Definitely, man. Go on ahead. Not that I'm a magical theory analysis machine, but I'll try my best.
  2. I don't mean amalgamating lots of separate patterns into one, timaeus. I mean putting together all the midi data in the track in one pattern or a few patterns. When I'm writing music with lots of variation and weird harmonies going on, it really helps me to do it in one pattern rather than expanding each part across a zillion patterns.
  3. A lot of learning how to write music is experimenting, but not every possible idea is going to come to one person. So I thought I'd start a list of nice-sounding patterns I've found recently which are sorta out of the ordinary major/minor, I-IV-V sort of thing and aren't exactly things you'd find in a typical music theory book. Got anything to contribute? If we can get enough fresh, organized ideas coming in, I'll start updating the OP to catalog them. VI-VII-I cadence Ex. C E G - D F# A - E G# D (root position voicings) or G C E - A D F# - G# B E (cooler voicings) I stumbled upon this
  4. I made the switch recently to writing most of my tunes in one or a few patterns in FL Studio. Does anyone who does the same have any good workflow or keyboard shortcut tips for writing everything in one pattern? I'm getting a little sick of copying and pasting and switching between channels
  5. I will very, very likely remix something from Risk of Rain at some point. I'm in love with that soundtrack, so much so that I even emailed ChrisChris to gush over it. But it'll be a while I have a ton on my plate right now. Probably 6 months or more. is probably what I'll remix.
  6. I've gotten a little use out of Absynth, but the stock presets are just too wonky and tough to integrate into a track, and it's not exactly a user-friendly synth for designing patches from scratch, but it's definitely a powerful synth. FM8, like all FM synthesizers, is a tough nut to crack, but if you can figure out the voodoo art of FM synthesis -- and there are definitely some rules* to making it work for you -- there's a ton of very unique, very cool sounds to be made with it. Plus, the psychedelay effect it has in its effects module is worth the price on its own. You can use the FM8 FX
  7. @!!@*#!(*@#!*@#&(!*@#!!!! That is too awesome. Just in time, too... I'm not too far removed from picking back up on a SNES chiptune album. Thanks for the recommendation
  8. Correct me if I'm wrong, but isn't the transient master with Komplete 9 the same as the one in Guitar Rig 5 (or whatever came with Komplete 8 )? Apart from the fact it's a separate VST, I mean. Just curious to see if it was upgraded or improved in some way. Whichever transient shaper I've got that came with Komplete 8 is awesome.
  9. Gonna second that. I got a free mastering guide from iZotope a while ago, too, and it helped me out quite a bit. And learning about psychoacoustics is the fastest way to develop production intuition, in my opinion. Ozone has been a really useful tool for me, and I use it as part of every mastering chain. I used Alloy once at halc's place, and I thought it was pretty cool, especially the harmonic exciter. They're not AAA+ plugins, but they're still really solid and easy to use, plus they've gotta have the best bang:buck of any mixing plugin pack.
  10. So true... but 'tis better to have gained and lost than never to have gained at all. Or something.
  11. That's awesome, Andy. I know how frustrating it is to spend a lot of time and effort on diet and exercise getting no results. Once you start making gains, it becomes very, very addicting I'm also glad to know I'm not the only one who struggles to focus on creative work either, haha.
  12. I'm a skinny shit again I couldn't keep up with eating as much as I needed to eat to put on muscle and keep it. I'm just too much of a hard-gainer to gain comfortably. All that food was taking too long to cook and eat, and being 110% full at all times was getting really old and farty/poopy. I'll probably head back to the gym soonish to do the same lifts but with a much, much slower arc of progression. My days of force-feeding are definitely over! So now I'm focusing on flexibility so I can do a full lotus to help out my meditation practice (not to mention I'm stupid inflexible), and I'l
  13. Well, I'm not looking for one so much for drum processing as I am for mastering. I know that soft clipping is one of the many secret weapons used to win the loudness war, often a soft clipper in place of a limiter, so that's my goal, really. For drum processing, I use transient shapers as needed on the individual parts and some compression on the bus, and I'm totally satisfied with that. And just my $0.02, but I never much like TLs Pocket Limiter despite everyone around here seeming to recommend it It's a good freebie plugin, but at least to my ear, I really like the sound of industry sta
  14. Yep, I know there's an entire Google out there, but I'm looking for some bona fide OCR opinions. Does anyone have any recommendations for a high-quality soft clipper plugin? Any experiences with bad ones?
  15. Awesome. Kontakt is a goddamn mystery to me. It'll be nice to read up on how to do stuff other than loading and routing
  16. I saw that the book had a 'look inside' thingy on Amazon and checked out a preview there, as I do with pretty much any non-fiction book I buy, but maybe not everyone would be inclined to do that
  17. I'm not sure off-hand, but learning jazz theory in general will help you with that concept. I've found Mark Levine's 'Jazz Theory Book' and 'Jazz Piano Book' (names might not be totally accurate) to be VERY insightful, but they don't very often specifically speak to tension and release. Learning the concepts he teaches, though, will help your natural sensibilities. The more I think in terms of tension and release, the less I think in terms of discrete scales and chords. I find myself playing some chord or melody and deciding I want to move into more consonance and dissonance with the next
  18. When I think production tutorials, I think 5 Minutes to a Better Mix. That dude's Youtube channel taught me so much.
  19. I agree with both of these things 100%. I threw a lot of stuff at you to learn, but relative pitch is the very first thing you should master as it sets you up for being able to internalize the rest of non-rhythmic music theory really easily*. Whenever I listen to music in the car, I try to identify the type of chord I'm hearing in the progression as it comes, and I try to identify intervals in the melodies when I can. I'll even sing or whistle harmonies to the melody if I'm familiar with it or sing an improvised melody over a section which only has chords. You definitely don't need an inst
  20. Ear-training. Theory is really helpful, but you have to be able to hear what you're learning. Learn intervals up to 13ths, ascending and descending. Be able to sing them all. Be able to identify triads and 7th chords by ear (hard mode: be able to identify extended and altered 7th chords). Maybe even learn how the inversions sound. Be able to hear all the modes, altered modes, the minor scales, etc. Being able to play all of these things on your instrument/piano is helpful, too. Also, think about tension and release more than you think about theory. That's what the appeal of most music
  21. That's my reaction to a camera being on me.
  22. I appreciate the love, everyone Thanks for being so awesome! Thanks so much, man! I really appreciate the compliment! I just turned 25, AND THAT ALBUM WAS FOR MEGA MAN'S 25TH ANNIVERSARY!!! COINCIDENCE? yeah, definitely. Only exactly enough Clintons.
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