timaeus222

Ah yeah, I remember this! This was pretty strong of a candidate from the get-go, and I'm glad we could work to get it on the site in a solid form!

When I suggested the compression earlier, the idea was to even out the amplitude of the kick, so that you wouldn't have to scoop out some of the ~60Hz to compensate, and I suggested smexoscope so you could see when that occurs. If you do what you had just done, aside from the 60Hz scoop, and you still get that issue (without the compression applied), you could just lower the volume overall until it doesn't happen, and then apply the compression.

Ah, yeah, that makes sense. Many kick drums are strongest in that frequency range. Typically, the "fundamental" (first harmonic) frequency, also the loudest frequency range, is around 60~200Hz, and some people call that "thump". Since it's the loudest, it could explain why you get distortion when you have the kick at a certain volume near 0dB, then move the filter. Considering all filters (or at least voltage-controlled ones) have a Resonance option, I'm thinking when you raised the frequency, the resonance (a thin boost, focused/narrowed by a high Q) caused the amplitude to go above 0dB and clip. You happen to be doing this: http://www.audiomulch.com/images/blog/southpole-expedition-part-1-low-pass-filter-basics-resonant-low-pass-frequency-response.png

I listened again and added a few more critiques and clarification on some things.

Electronic, as in electronic-sounding, or electronically-processed? By electronic-sounding, I mean for electronic-centric music, and that may include Roland TR samples, for example, but by electronically-processed, I mean anything involving drum samples used in a DAW, even acoustic ones. Assuming you mean how to get started with writing electronic-sounding drums, http://goldbaby.co.nz/ has some great, well-polished drum samples for electro, hip-hop, and other electronic-centric genres that you can use right out of the box and/or layer to get meatier results. If you mean how to write acoustic drum rhythms, then you may want to watch videos of and getting an idea of their tendencies for variation and flow. I think helps on writing drum rhythms in general, whatever type of drums they are.

Are you saying that you want a kick that has a constant amplitude before a low pass filter and after it's been automated to high frequencies? If so, just automate like normal, keeping the max amplitude below the limiter threshold (between when the distortion/clipping doesn't happen and when it does) after the low pass filter has already been lifted. While the low pass is still at a low frequency, it should be quieter, yes. That's fine. You're missing frequencies above a certain cutoff, so it should naturally be quieter in the absence of any other processing. If you want the volume to be somewhat more constant, then just add compression with settings along these lines: Attack: ~20ms Release: 120~200ms or 0.120~0.200s (some compressors use s, others use ms) Ratio: ~2:1 Threshold: -8~-4dB Gain: 4~7.2dB (I just think in terms of +/- k*0.4dB; k = 1, 2, ...) And of course, check the final gain and use your best judgment. You may want to use something from my list of plugin recommendations (free or otherwise) for this compression (specifically smexoscope and endorphin).

Yup, watch for the BadAss Vol. 3 album (it's the MidEast track)! also [/offtopic] oops. Hm... what else. Something I've done before for "Funkstep", but super simplified: 1. E. Piano (with and without wah pedal) 2. Claps 3. Typical drums 4. Soft synth lead 5. Deeeeeep slap bass 6. Dubstep wobble 7. DX7 bass 8. Flexitoooooooooone 9. Cowbeeeeeeeeell 10. Jazzy synth lead / countermelody lead 11. Synth lead #3 (countermelody) 12. Synth brass 13. Piano (with and without glitching) 14. Atmospheric Pad 15. Ringmod Sweep 16. Bass drop

Gosh this is a little loud. The overall hit at 0:03, for example, has a pretty meh cymbal sample. Fantastic chordwork, though. Nice flourishes in the lead here and there, and good bass tone. Interesting record scratches, and I don't think it's quite to the point of being overdone. The drums are a little strange in that there isn't often a kick drum on the 3 in your patterns (1 + 2 + 3 + 4 +), and I keep wanting to hear it there for the sake of variation and because it's a typical drum beat stylistic choice. It's obviously not a big deal though, just something of note. Also, the snare tone doesn't seem like it fits this swung jazz atmosphere; it's sorta like a TR-909, I think. Maybe something with more low-mids and a little less white-noise-like. The kick can benefit from a little more oomph with some layering, as it's not that present aside from the low bass frequencies. I feel like 1:28 can use a transitional element, like a cymbal or sweep. Same with the other breakdown sections. That way people can tell when you switch sections. The piano is clearly a real sample, but it occasionally feels mechanical and plunky, such as at 3:23. Mainly the hard tone and the deficiency in velocity layers that are causing that. Possibly also the velocity magnitudes, but I can't tell whether it's that or the velocity response. Maybe both. My main complaint is that the groove stays pretty similar for much of it. It's nice in a vacuum, but it'd help the dynamics to, for example, calm the bass down and have it in longer sustains at 2:21 - 2:40 and 3:02 - 3:45 to lower the energy. Another way to say it is to use less notes per measure (making it less busy). 3:43 had some sour notes. Overall, the dynamics stay pretty similar, and relaxing the bass rhythm and busy-ness can help create some nice contrast in your breakdown sections. Some spots here and there can use transitions, or variations on transitions that are already there to incorporate some subtle differences that lessen the repetition on a larger scale, and maybe a solo or something to change it up and maintain interest. The piano sample can be replaced with one with more velocity layers, but I think it's not quite a big enough issue on its own because it's not exposed for a long time each time it pops out of the sound field (for me this is borderline because it's not a primary lead). This is nice, but it just needs a little more TLC, fixing minor issues here and there, and breaking out of the same groove that's used all throughout the length of the 4:37 piece (established by the drums and/or the bass). For the record, I like the arrangement itself in terms of the progression, and you had some cohesive textural choices for the most part. The groove you have going on is enhanced with the swung eighth notes and you do have some breakdown sections at practical moments in the remix. I think this is pretty close, and could easily pass before 2007. You may also want to try a source breakdown to see where you stand in terms of source usage. This feels like it's inspired by GHZ but has the potential to be just barely too liberal. I dunno, I'd have to check for myself later if you don't want to do it yourself.

I think it'd help if you didn't count small parts where you didn't use the notes from the source. For example, if you have a 30 second portion where you used notes only halfway through, then finished up the remaining 15 seconds with filler notes or chords, then only half of it counts. That way you're giving yourself minimum credit for source usage, and you would have a better idea of your worst-case scenario.

It's private.

This is... long. And plodding. That's really all I can say about this. It's just pads. For 18 minutes. Seriously, what?

I wanna say it's a fake bandoneon or accordion...

Yeah, I usually put all my drums in one pattern clip and do "Make Unique" for variation, too. Sometimes I separate them if I'm doing "buildup" drums or something where I slowly bring in new percussion. And the 77 mixer tracks... are from the oodles of layering and all the diverse samples. There are a bunch of draggable cinematic samples and synth layers in that project file, and all of it was intentional (o_o). Somehow I'm not worried I'll finally get to 99/99 mixer tracks used up. My max was 80.

And by that, you mean didgeridoo #insidejoke

Yeah, it helped once I found a way to organize things. I tend to group drums together, similar sounds together (i.e. synth leads, pads+drones, misc. FX, draggable samples, etc.), and similar automation clips together. My project files get pretty big, but that's something I've become proud of, knowing that I can say "wow, I did that and I didn't get confused. Cool." Oh, were you referring to orchestral? 'Cause I have a different one for that, now that I've done something of that sort. 1. Violins I Legato 2. Violins II Legato 3. Violas Legato 4. Cellos Legato 5. Contrabasses Legato 6. Ensemble Spiccato Low 7. Ensemble Spiccato High 8. Ensemble Tremolo 9. Ensemble Pizzicato 10. Violins Trill 11. Violins Pizzicato 12. Contrabasses Pizzicato 13. Ensemble Sordino 14. Violins Harmonics 15. Contrabasses Harmonics 16. ??? For the rest I just pick whatever fits the moment. =P For something I'm currently doing: 1. Cinematic Drums 2. Acoustic Drum Kit 3. Physically Modeled Piano 4. Big Sub Bass 5. Harp (possibly with glitch effects) 6. Glockenspiel 7. Timpani 8. Bass Drum 9. Snare Drums 10. Various Cymbals & Gongs 11. Dubstep Wobble (yup) 12. Resonant Glass Bottle-esque synth patch 13. Light Atmospheric SFX 14. Big Underscoring Synth Bass 15. Tubular Bells 16. Bass Drop

Nah, since I'm used to layering with the Layer tool, and somehow I'm able to keep a bunch of things organized in my head (sometimes I reach 60+ mixer tracks, 50+ playlist tracks, and 100+ VST wrappers, and I'm okay with that). If I end up EQing for each synth, I'd just route each to their own mixer tracks, and if they're for the same purpose, then I route each of those mixer tracks to one bus for cohesion. And since EQing has somehow become fun for me now, I don't mind EQing a zillion instruments either.

Hep heppy birthdey! [sic]

I loved the cartoonish feel of this. It feels more like stroll through the woods than someone being late Actually, it reminds of animated art like this.

Woah... Jeff's got them chops! Seriously though, his ear for harmony is impeccable, or at least here it is. Definitely worth multiple listens! If you don't have this yet, go get it, or I'll hunt you down, knock on your door, and tell you myself.

What is this I don't even Okay, let's attempt to address the topic. 1] Kick 2] Snare 3] Hi Hat 4] Open Hi Hat 5] Toms 6] Cymbals 7] Big phat bass 8] Uber-expressive Lead 9] Rich polyphonic instrument 10] Some flourishing arp thing 11] Countermelodic instrument 12] Big awesome pad 13] Alternative polyphonic instrument 14] Alternative countermelodic instrument 15] Alternative lead 16] Another big phat bass But really though, I almost always have more than 16 because I'm crazy and I layer things like a mofo. Now the question is, how many pattern clips do you use? =0 (apparently I've reached 196 before)

It's either a new trend that started yesterday, or I was born yesterday. Or it's a thing.

Man, I love the subtle harp, glock, and bass pizzicato in this that shows up every now and then. It adds that light delicate touch to a relaxing arrangement that makes good use of swells and trebly instruments. Great dynamics, too. Quiet when it matters, and loud when it really needs to hit you in the feels.

If you have about 6 hours on your hands at some point, it'll be pretty beneficial to watch these: Sidenote: Meant to post in here, but posted in a topic about making money instead

I would actually try vocoding it all. They do sound like vocals, but even though it's hard to understand them, they just feel like a textural addition rather than a focal point in the arrangement. Either way, it's a nice opportunity to experiment with.

Okay, to actually say something about this... I do the following things: - Sound Design in general - Work forever on an album I'm not sure when it's going to come out - Mixing/Mastering for others