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  • Occupation
    Metal worker, Film Editor, Barista

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Drum Programming
    Synthesis & Sound Design

Kanohi's Achievements


Newbie (1/14)

  1. I wouldn't say I extensively produce Neurofunk, I'm more into Glitch Hop but I know they both utilize a lot of the same elements at times. Personally I feel like the drums used from 1:12 and on simply don't hit hard enough. It still feels like the intro to me. It gets a little more intense around 1:57 with the addition of high-hats, but even then neither the Kick nor the Snare really stand out over the synths. It's a cool arrangement, I'm interested to see where this goes!
  2. Dang! The drop is so much more powerful now, I'm really impressed! I have to agree with Timaeus that a lot of the basses feel either thin or empty around that part, and there's some more work to be done to make them feel thick and full, but this is definitely well on its way! As for the sample of the German voice, I know that OCR prefers when people don't sample audio directly from the game, but I seem to remember that their policy is as long as it's not excessive you're ok? So I'm not sure, it fits but it's also a little cheesy, I think it would sound good with or without it
  3. I just want to check in here and see if this is still going on? If yes, I'll keep tweaking my track because I want to finish it for this and I don't want the DK64 project to die off
  4. The intro is pretty cool, the source is audible but it's different enough to be interesting! The "drop" doesn't hold much weight. I say "drop" because I'm not sure if that's what it is, but since you mention complextro inspiration, I figure that's what it is. The basses have no power, they hit as hard as the high synths and there's just so much going on that it leaves the deep bits high and dry, ya know? I would recommend minimalizing the area around the drop section. If you're going for that staple Porter Robinson/Zedd/Madeon type of sound, you'll want to take some of the instruments out of the mix to let the bass really shine through. I would also suggest during that buildup, modulate the instruments used and reduce their low-end gradually so that just before the drop, there's much less in the low channels, this will make the bass after the drop stand out a lot more! Just some suggestions, it sounds really good aside from that bit, but feel free to experiment in other ways to bring out that punchy sound a bit more
  5. I've never been a huge fan of Savant's music, but watching his process was very interesting, thanks for the link!
  6. So sick, definitely one of my favorite source tunes from Prime 2 and I think Argle really nailed it! It's powerful and heavy to a point but keeps a great ambient and airy feel to balance it out, great mix
  7. Stuff like this always makes me smile, the KOAN Sound boys are young but I feel like they understand quality electronic music production far beyond their years, always happy to spread the sound
  8. If you want an idea of what I mean by dynamics, this song is one of my favorite examples.
  9. Really like the new mix! The transition into the bridge is much better, the song feels like one flowing piece now the bit at 2:09 still seems like too much of a fall-off to me personally, and I would maybe add a synth or pad that swells up into the start of the next phrase to keep it gliding along smoothly. That, however, seems like it's more of a personal-taste thing, so it's up to your own discretion if you want to change it or leave it! Love the new second section, great work keeping it similar but changing it up enough to be noticeable
  10. Tons of fun, I really enjoyed this! Kinda hard to feel a punk vibe without any drums though
  11. I like the feeling, but I think everybody else made some good points! The snare is very reverb-y. Too much in my opinion, I think you should tone back the amount of reverb and also shorten up the length of it so it doesn't echo for as long. The bass rhythm is nice and simple, and it definitely leaves a lot of room for some interesting variation to be thrown in. Some stuff I would try is maybe for just a beat or two having the wobble double-up so it plays twice as fast, change the waveshape of the LFO from Sin to Saw, etc. The kick drum needs to hit a lot harder, I almost didn't hear it at first It's a cool sample, but it can be improved upon with some more work!
  12. @Timaeus: Let the Reese fever spread! >:0 Also, by dynamics I simply mean a non-static sound (which is very general, but I mean it to be so). For example, instead of setting your LFO's on a few knobs and then letting that wobble play for 2-3 beats, adding an envelope on one of those knobs to slowly change the level of it -while- it's connected to the LFO will make that sound much more interesting 9 times out of 10. There are some instances where a sound can be effective verbatim, but adding small envelope-changes or using an automation clip to adjust some of the more textural effects while the sound is running it's course adds a lot of expression to it (in short, dynamics ). I do see how that was very vague, looking back on it though X) @Argle: Something that I noticed when I first started out w/ making Dubstep was that a sound without a sub-bass under it will almost always sound underwhelming. If you make a wobble with a lot of texture and then make a wobble that is the same pattern but purely sub-bass (just a simple sin-wave, very deep) to play at the same time, it usually gives you an idea of what it would sound like when "finished" or in the final stages at least!
  13. I mostly used the recommendations I did because of the song Argle linked, I personally think that Reese Bass has a very wide range of use, and a lot of great modern Dubstep tunes are utilizing it in cool ways (such as the works of Culprate, Joe Ford, etc.) Of course there's a lot of other things to use and try, but what I was mainly trying to emphasize was dynamics! Dynamics can spice up wobbles even if they're basic, so play with envelopes a lot to see what you can make happen!
  14. The song you linked (Skism's remix of The State) utilizes a lot of heavy, almost DnB-flavored basses, so I think you should look into tutorials for producing a "Reese" bass. It's a very textural, guttural sound that a lot of DnB producers use, and I find that it has a much better effect than 'wobble' bass noises. Try this tutorial. The emulated sound is similar to a sound that KOAN Sound or Noisia would use, and with the right level of ducking or sidechaining to a kick drum, you can produce awesome impact effects! There are dozens of ways to make different Reese basses, so I suggest looking into that! Also don't get stuck on the idea of "Wobbles". I think that concept is kind of dated, the real height of production is knowing when to wobble and when to just play with the modulation so it produces some proper dynamics and not just a binary up-down-up-down pattern. Starting at around 0:42 you'll hear a lot of volume and modulation work. Though technically that song is considered Glitch Hop, I believe that those elements are far more powerful and intense than what most wobbles or basic dubstep can achieve. 16bit is one of the best artists to look at for those elements combined, and I think that their iconic Machine Gun remix is something to look to for inspiration, specifically the second drop at 3:39 (which is more along the lines of wobbles). Hope I was able to help!
  15. I really like this! It's nice and chilled out, but it keeps the fun and adventurous feel of the original track! If I was to give any notes, I'd say you should add some extra ambiance around 2:00 and on through that break. Right at 2:00, it kind of stops a little too abruptly, so having some extra reverb or more preferably just lengthening the release on those instruments would keep it connected a little better in my opinion. Aside from that, I'm excited at the prospect of a solid FEZ remix going up on OCR
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