timaeus222

I'm assuming you would prefer a free synth. If you want to use 3xOsc or Harmor, and you want to get the pitch bend range large enough, you can change that range. When you left-click an instrument channel in the drum sequencer, a small window pops up with Pan, Volume, etc., called the Plugin Wrapper. https://www.image-line.com/support/FLHelp/html/plugins/wrapper.htm The pitch bend range is probably at "2" by default. Changing it to "12" should allow your pitch wheel to access a larger pitch bend range (12 semitones = 1 octave). With vibrato, it's going to be a bit harder without a specialized synth that has vibrato built in. You might have to just go into the piano roll, highlight part of the timeline in there, and press Alt+O to generate your own pitch bends for the vibrato that you can modify as Event Edits. If you want a free alternative synth, others have recommended TAL-Noisemaker a few times. http://tal-software.com/products/tal-noisemaker Some reviews: http://www.kvraudio.com/product/tal-noisemaker-by-togu-audio-line/reviews

Try (for free) dropbox.com (no limit except capacity limit) or mediafire.com (2GB limit per file), or if you want to split it into sub-250MB files, you can alternatively use box.com (250MB or below per file) just fine.

Not bad, but these could be taken further. How long did this take? I don't know if you wanted these to sound like a real orchestra was playing, but currently they don't. Did you adjust any velocities on your samples? No matter how high fidelity your samples are, with nonvarying and overly-quantized velocities, they're not going to sound realistic. Currently everything's just locked to the grid (listen to the drums on the second track and it's easiest to notice with those), and as a result these instruments are lacking expression. It would really help to slightly offset the rhythm of the velocities (even a few ms helps...) and adjust their magnitudes (not randomly; listen to the difference) so that they emulate how real instrumentalists play their instruments. That's going to take lots of practice to do well, though I understand if it feels like I'm making a big deal out of nothing. Also, small semantics thing, but real and realistic aren't the same thing; real is physically touchable, but realistic emulates real, and these aren't real instruments---they're aiming to be realistic.

No worries, you can't embed soundcloud yet as of today. I believe the intention is so that it is possible someday, but until then, linking is just fine.

Specifically, the way I would do it is link an LFO to the OSC pitch of some moddepth (say, 2 semitones). Then, assuming your LFO has a setting for its amplitude, I would link the Modwheel (of some [moddepth]%) to that amplitude (adjust either [Modwheel moddepth]% or [LFO amplitude]% to match the vibrato intensity you want). As a result, you can move your Modwheel to modulate between no vibrato and [Modwheel moddepth/100 x LFO Amplitude/100]% vibrato. The reasoning for this involves the idea that you'd be using modwheel to modulate LFO amplitude, which controls the modulation depth of the LFO, which (the LFO) controls the pitch. Why such a chain? This way, you have control over when the vibrato comes in (modwheel), at what intensity (LFO amplitude), and over what pitch range (LFO moddepth) it can reach. At this point, after that setup, you would have the Pitchwheel for the Master pitch, and the Modwheel for the vibrato mix level (note that if the Modwheel has a moddepth of X%, it means X% of the LFO amplitude, so if the Modwheel is modulating 100% of the LFO amplitude and the LFO amplitude itself is at 60%, the Modwheel makes the synth use 60% "vibrato" and 40% "no vibrato"). If you have any questions, please try to post a screenshot of your synth, and then we can see how to do it specifically.

It's just a pitch bend at a large interval (an octave or below) of more than one voice. Detune a saw wave and link pitchwheel to the pitch within the synth, or increase the pitch bend range in your DAW.

I think it's pointless too (although 7-string guitars do sound different than 6-string guitars, especially the low reach ). I personally know the lead singer for a local metal band and yep, she's a girl. And I've heard them live before. It was good. No one should be surprised if a girl is singing lead in a metal band. https://www.facebook.com/5timesover

sure Luke

>_> well, at higher pitches they have a clearer tone one can pinpoint

Technically you can retune drums. Does this assume that drums are atonal, or no retuning for drums?

What are you doing? Unless you just so happen to be joking with this (unfortunately "incriminating") post, you say you don't need to do this and that, and then you just did each of those things. Calm down. It's just commonplace to find that an argument is starting to escalate when someone replies phrase-by-phrase, because they feel the need to address someone's argument bit by bit. It doesn't necessarily mean either person is increasing in blind rage or whatever, but the tension does get higher, and it's straightforward to notice that from the structure of posts like this. No one needs to be able to read minds to notice this. prophetik wasn't judging you, but making a general observation so as to hint you to not do what you just did here, for the sake of minimizing arguments. Or he was trolling for one post. But regardless, he doesn't want to be offensive. He wasn't even addressing your name in particular. It was general. If you want to consider those kinds of posts, just keep in mind that you need to consider who's really intending to attack you, who's just fooling around, and who's just making observations. No one's really attacking you here, so you don't need to accuse anyone. From this though, I would suggest that you take a look at the play, No Exit by Sartre. It could be a good read, and it's about this kind of situation where people judge you unnecessarily. Maybe it'll help you take situations like this and be the better person.

c'mon dude hurry up c'mon c'mon c'mon c'mon c'mon c'mon c'mon c'mon c'mon c'mon c'mon c'mon

I read this as "Worlds Coming Apart, Summer 2015!"

I did read it, but without it, it doesn't make as much sense. I think if it depends on the story too much, it's not so much an independent song as it is background music. Irrespective of the story being there, the computer sounds aren't accompanied by anything else, so they're bare. It's like taking a movie and turning it into a blank screen with the sound intact.

This is really coming along. Keep it up.

In general I think it succeeds in arranging the source recognizably, but what was the point of the random computer sounds at 3:02 towards the end? At that point you've basically given up on arranging anything. This needs more sophistication to the arrangement. You just have this ambient track that stops 3/4 of the way through to throw sound effects at people. There needs to be a more substantial way that your computer sounds contribute to the arrangement. Otherwise, it's just tacked on at the end for no reason. The arrangement itself though, stays in one or two gears the whole time. It just doesn't do much. Maybe integrating another VGM can make it more interesting.

Very carefully.

Sounds like a multi-voiced, slightly detuned legato saw wave with some resonance, glide/portamento, and a filter envelope that starts closing after about a second (decreasing cutoff frequency but not resonance). To get that vibrato, try linking an LFO to the pitch with a depth of about 1 semitone. The right choice of filter, and the right amount of resonance and vibrato would probably help too.

Listen to music on speakers earlier and turn it up?

Yeah, I realize this track isn't supposed to be attention-grabbing and crazy and whatnot, but intricate details to fill in the soundscape would take you a long way. Even a more complex layering to the pads would help.

What do you mean by surround? The instruments here do sound too wide still. The max panning I would do for an orchestra is about 50% wide. You usually don't hear one this wide unless you're front-row or something. Try imagining being in about the 10th row instead. Did you do any additional panning aside from default panning positions? I also think the latin vocals seem a bit unnecessary, and also too far left. Again, the writing sounds good, but the panning and volumes sound off.

Just edit the first post in the Full Editor and add a Mod Review tag to the beginning.

The intro to me sounds pretty bare. Mainly, the pad you have is pretty thin and lacking motion, and since it seems like it's supposed to be ambient/atmospheric, the lead brassy sound seems missing some reverb. Maybe some Valhalla-like reverb could work. Also, at 0:29 - 0:54, I'm pretty sure the arp is harmonically clashing with the pad (a bit). The intro, I wouldn't say is boring per se, but it's not particularly elaborate of a soundscape and feels rather empty at the moment. It starts getting more interesting at 0:58 though, but not until 1:27 does the soundscape actually seem to change that much from the first seconds. The sine-wave-like sound at 2:47 is the type of detail I would be looking for; fill in that soundscape, because based on the arrangement, this feels like it's supposed to be atmospheric overall. 3:23 was a nice shift to a darker mood. I think a smooth, deep analog bass could work pretty well there, and it's also a place where you could really bring on the sweeping pads, glockenspiel/bells, tubular bells, etc. At 4:00 - 4:28, it's a bit personal preference, but maybe the kick could start fading in instead of starting loud, just to ease the listener back in gradually. You may find these as something to be inspired by.

With the tempo comment, what I mean is that sudden tempo switches can throw people off guard. It takes time to ease into a new tempo, and I personally don't do many tempo changes because I think it's hard to make it work without raising eyebrows. With timings, YMMV; with nonphysical instruments I don't mind as much, but with realistic instruments, stiff timing highlights how sampled they are, and even slightly random timing in either direction (a few ms) helps. Besides what I mentioned, I don't have anything else to mention; maybe it doesn't seem like much, but I think it's enough to last you if you keep referring back to this list and seeing if any of these still are issues.

You can download it and load it into an audio editor. It should display the waveform amplitude vs. time.