timaeus222

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I low-passed it almost completely, and it seems like the "chirp" is still slightly there in my audio editor, but not in the DAW and not in WinAmp. It seems to get stronger when you boost the subs more. You're not hearing things, but I don't think it's a big deal in the long run. Here's a completely random selected kick sound from my set of Goldbaby drum samples. https://app.box.com/s/8ko1na32ephgta2ogqt8mi4ve4dw3jp7 I didn't do anything to it whatsoever. I think if you listen to the kick the same way you did when you heard the "chirpy" tone, you'll hear it here too. (That would tell you it's normal.)

It can be recreated by adding reverse delay on a bell sound. So if you isolate the wet delay signal and reverse it, that should get you close.

It may just be because I naturally love middle-eastern instruments, but this soundscape is really well-constructed. The duduk could have had smoother legato, but it was handled fairly well. I liked the quasi-meditative mood evoked from the kind of "not-quite-resolving" implied harmonies (like if you played C,F,G,C'); it reminds me of "Gentle Fist" (which interestingly enough was in the WIND volume!). 2:15 - 2:32 was a highlight for me in terms of the standout harmonies, and for me, definitely makes the track.

Use whatever you are more proficient in writing with. I think the violin would actually be more suitable tonally though. The guitar feels awkward.

Uh, could you provide an example? I've never gotten that before when EQing kicks.

I've gotten a few every now and then and I've just kind of accepted them. The first time I tried disputing one of them, it got rejected and the ads stayed. I got to keep the video, but obviously there were unnecessary ads on there for a completely bogus reason. I could see right through the lies, but I didn't want to risk getting accused (by the entity) of a "false" counterclaim from me on my account.

I haven't been too active with this, but I spent some time doing OCR00421-00425.

Man, I love the dirt and crunch in the soundscape here. The groove is strong with this one!

Yeah, I get that you don't have to achieve quite as much realism as in an organic song, but given that you have the resources to do so, and a bit of room for improvement on it, I thought I might as well encourage it. Your 100% today might equal your 80% next year.

I can't check right now, but I think you could have right-clicked the CC you were editing from the FL browser and clicked "Init song with this position". EDIT: Okay, I can confirm that doing "Init song with this position" saves the parameter state so that opening the project again keeps the parameter where it is, even if it is MIDI CC. But you have to do that each time if you don't have an automation clip to do that for you. Also, that vibrato rate feels a little weird still. It's not something that is easy to make realistic, but now it feels too fast, and too constant. Try listening to the violin examples I showed you earlier and paying close attention to the vibrato rate.

I think you should consider changing the vibrato rate, as it doesn't feel fast enough for that tempo. That is the y-axis on the vibrato XY-pad (the x-axis is the depth). It is also natural for a violinist to not play with a constant-rate vibrato. As I mentioned earlier, you could go into the "Auto" tab in Kontakt, then click "MIDI automation" to locate a bunch of MIDI CCs that you can use. Then, choose one that is unused, and drag it onto the vibrato rate slider, and you should then be able to automate CC14 via the FL browser and change the vibrato rate.

On short notes, you can let the sample do the work; its natural envelope decay is fast enough that it would be unnecessary to automate CC11 to try to achieve realism. It's more practical on longer notes, as that is more sensibly within the speed range where violinists can capably soften the contact of the bow with the strings in an audible manner. In other words, with fast notes, they are too fast for CC11 to matter, and simply using the fast articulation (like staccato) gets you 99% of the way there. Bow change legato and slur legato are different as in their names; slur legato is playing two smoothly connected notes in a row without changing the bow direction (forward/backward), and bow change legato involves the change in bow direction. Generally, slur legato is more often heard within a given phrase containing ascending or descending scales, while a bow change tends to be heard after a phrase ends or before a new phrase starts (you would see these "phrases" marked as arced ties spanning several notes in sheet music). The sheet music above uses the "down-bow" and "up-bow" articulation markings. And yes, real violinists can press the bow down harder on the strings. It's fairly similar to strumming harder on a guitar string instead of lightly brushing it. These notes tend to be the first note in a new phrase or in a new measure.

Nope, I mean exactly to say slur, which as I said before, is playing multiple legato notes in a row in one bow stroke. Portamento is more of a slow "pitch slide" technique, and is not the same thing as a slur. This guy explains it pretty well. I can hear a little of the expression you're putting in there, but it seems kind of 'forced'; that is, the CC11 seems unnaturally used. A bit hard to describe, but the sudden spike at 0:03 - 0:04, for instance, feels out of place. Overall it's definitely better than before though.

Well, it may or may not be obvious, but as you play notes, look at the articulation that is displayed on the Friedlander UI. For instance, if you sequence two overlapping notes, by default it should display "Bow change legato", but if you press down on the C#2 keyswitch (C#4 in FL), it should play a slur. It helps to double-check by looking at the articulations that result from your sequencing, to see if a particular sequence of notes does what you think it does. Based on your demo, the fast notes don't feel as tight as it would be if a sufficiently-talented violinist were to play it. For instance, try listening to the live violin in this track: https://zirconstudios.bandcamp.com/track/unity Also, here's an example of something I've done to recreate part of a violin song. Didn't turn out too badly. Mainly what I wish I had was a bit of that grit in the tone from the particular bow Lindsey uses. CC14 is the vibrato rate, and CC11 is the expression controller.

I think the violin sounds too choppy and mechanical; you should vary the velocities to emphasize specific notes that a real violinist would play most strongly, and use MIDI CC 11 on longer notes to add more emotion. If you pay more close attention to Lindsey Stirling's playing, you should be able to recreate it and recognize just how much emotion she puts into her playing. Then, try to get yourself in the mindset of thinking about those kinds of maneuvers to get more realism out of a sample library.

I dunno, I read that as like, "Mistah Kurtz. He dead." But maybe it's just me. That would be an exceedingly obscure reference. http://www.shmoop.com/hollow-men/poem-text.html

Hey Shariq, I hate to say this, but something happened last minute and I don't think Neblix and I will have the time to finish our mix. Sorry! I have to focus on finishing my senior thesis. But, if there's still time, do tell me.

Yeah, an easy way to do MIDI CC modulation in Kontakt is to go to the farthest-right tab (called "Auto") on the left browser bar in Kontakt and access all the available CC's. You could drag the CC# of choice from the Kontakt browser onto an automatable knob and that should allow you to then automate that knob via automation clips in the FL browser sidebar under "Generators". Optimally for violin, you should have to automate: vibrato (modwheel) vibrato rate expression/dynamics (CC11) portamento time if needed something else arbitrary, like turning staccato on/off should be possible. etc. for better realism. As for a hammer-on, it's basically hitting a note on the guitar, then pressing down with a second finger onto a new adjacent or nonadjacent fret (on the same string). A hammer-on is the entire action of playing the note, including the fretfinger pressing on the new fret (a pull-off is similar, but with the fretfinger lifting from a second fret). For a violin slur, it's fairly similar, but instead of a picked/strummed note, you're considering the bowing of a note in only one stroke direction. Essentially it's a way of playing smooth legato without rebowing (rebowing is when you lift the bow and bow again).

The delay in the vibrato coming in is a natural thing; if you're playing shorter notes, chances are you won't need vibrato for those notes. Also, you should know that slurs are like hammer-ons for guitars; that's something you can expect to use often.

Yeah, the best part about it IMO is that the raw samples don't have vibrato, and that allows you more control by using vibrato via MIDI CC.

I would second Friedlander Violin; I've actually used it to replicate some of Lindsey Stirling's lines before, so it's quite possible.

Yep; sometimes people like someone else's music because they like the person. I couldn't imagine finding a youtube video of a live concert without people screaming, i.e. they come to the concert for that famous person. So, it can be hard to predict how people "receive" your music. I try not to think about that and just make what I like to make, and if people like it, then great! I stay motivated to write music because it keeps me happy. ----- I have some nice reference mixes that tells me how much bass is too boomy (http://ocremix.org/remix/OCR02093), how much treble is too piercing (http://ocremix.org/remix/OCR02177), and what loudness is too loud (https://soundcloud.com/zircon-1/level-bounce). That's what I used to calibrate my headphones, anyways.

Yeah, this recent comparison sounds hardly any different. I do SEE the difference in the waveform, but as before, I can chalk it up to a phase offset difference. At this point, based on how without the sub oscillator, the difference is even smaller, if I wanted to be even more sure, I would turn off Fruity Limiter and see if that then fixes the problem. If that does, then I would believe that there is a change in amplitude in the sub oscillator that triggers the limiter more heavily, causing a greater duck in volume via overcompression. If that doesn't, then that's an interesting issue you got there. I never really continued using Fruity Limiter, and switched to a soft-knee limiter about 3 years ago because of the overcompression. ----- I actually was aware of the high impedance (a kind of "collective resistance") of my Beyerdynamic DT880s (250 ohms), which led me to realize that I needed to amplify them to get a reasonable volume and frequency response to them. Afterwards, I found that they have good bass relative to my Grado SR-60i's that I owned previously, and they have certainly improved my bass mixing drastically (for instance, something full in bass that would normally take me 8 hours on my previous pair of headphones can take me less than an hour to mix on these). ----- This kind of phase difference can bother people if it's in an exposed context, but if you fill in the soundscape with more elements that encompass the stereo field, the phase difference becomes a minor issue in the big picture, because it sinks beneath the more prominent elements in the soundscape. For instance, I used Serum in writing this remix a few months ago (submitted to OCR already), and I really don't hear any issues with the Serum bass because the soundscape is filled out as much as I could make it. I realize that that explanation of "minor issue in the big picture" is kind of "covering up" what is labeled as an issue, but in my honest opinion, and with all due respect, I don't think people will really care about an issue of this small magnitude. This is something that you honed in on because you know how your mix is supposed to sound, and I think it sounds worse to you because of that. A lot of sound design is quite personal because over time, you get used to how you prefer to move the synth knobs to hear what you want. So, just because you really love how a specific sound that you made turned out doesn't mean that in context, it will make for a final mix that others will find amazing. Similarly, just because you don't like how the sound design seems a little inconsistent on live playback doesn't mean people will suddenly find that to be the major issue that they arbitrarily choose to be the reason they don't like the song. More likely, I think it would be the collective observation that they make of the entire soundscape (the vertical layering), coupled with the length of the song that they choose to hear (the horizontal progression), and the overall arrangement excellence (soundscape + note interplay), that might tell you how much they like or don't like the song.