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About ShadowRaz

  • Rank
    Alex Kidd (+200)

Profile Information

  • Gender
  • Location
  • Interests
    I produce & compose and experiment designing several different electronic genres of which most notable are Dubstep, DnB and House/Trance/Electro, but also compose a lot of Virtual Instrumental / Orchestral music, and also love attempting to create hybrids of several genres as i'm not tied to single genre style at all. I'm also quite active gamer with main interest focus on open-world games, the better the graphics and gameplay and more freedom to do what i want, the more i tend to like them. Also love Battlefield as FPS multiplayer. Only sometimes go into more retro stuff especially if the games are free on PSN Plus layout for example.

Artist Settings

  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Software - Preferred Plugins/Libraries
    Kontakt 5, Massive, Serum, Sylenth 1, Nexus
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Synthesis & Sound Design


  • Real Name
    Arto Päivänsäde
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  • PlayStation Network ID
  • Steam ID

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  1. Yes, it might be true indeed that if making remixes, especially a lot of them, then people might just start expecting more of remixes and therefore aren't interested about originals, considering they just drown among the 'bigger names' so to speak which you remixed. But what if making only few, wouldn't it get you on the map perhaps but not necessarily standardized as remixer only? Both of you have quite accurate, as in i agree, and similar answers in fact. About remixing for example how it could be good but not necessarily in some precise ways. Funny to ask this btw on a site which ha
  2. Seriously guys though.. i've asked several questions and would like some answers/opinions/knowledge if you have any ! I have posted so much of my original music already that i'm starting to ponder that it is becoming pointless to upload anything worth shit before knowing how to proceed properly in the music world outside of own enjoyment of it. 1. To add the continuation i wrote, now in a nutshell, assuming that it would be some preferred genre (for people and their taste in music in general) remix of the original, and as i could actually attempt several styles, that leads to
  3. Oh, i did not and do not then understand completely what you mean, but assumed on the reply something that me as a non-native speaker would not understand with the word monitor relating to you headphones as in monitoring the sound or something... SO... do you mean you actually listened with some internal small speakers your computer screens have? I mean i'm not sure are there some really high-def expensive ones of such but i assume that wouldn't be very reliable source to test treble necessarily perhaps? Edit. On second thought before you even answer, i just thought of it in a way
  4. Yes that is exactly what i already thought of being the problem that might got forgotten bit too easily as i stated already Then Didn't see such button... should dig in even more to the program to find everything but in following video i uploaded now for this purpose, you can clearly hear how much the Reference 4.dll plugin within the studio as well (not just the system wide exe file which doesn't apply to FLS at all as Asio seems to mess it up) lessens the overall sound output level: On that i also am testing the Parametric EQ2 option i thought of, and also Line
  5. Yep i indeed tested only my own tracks whilst trying the program for the first time yesterday. But you are absolutely right that i should reference others tracks. And i tested all 3 you linked to me. The 1st one, orchestral, sounds better without the programs EQ for DT880. I mean the sounds are in fact clearer and sound more realistic in my opinion as the treble is stronger, however it is a bit softer to listen with the program on dialing them down and i in fact do hear the mid frequencies more clearly to balance out the over-all sound, yet can't shake the feeling that it sounds a
  6. Yeah agree that it might overcompensate. I mean, when you think about it, if the headphones standard sound output was so off from "standard" sound output, i think i would have heard the "through tube" (as in too weak treble and strong mid) sound on legato violins especially (which sounded worst with the program running, on other note, as i tested couple of dubstep tracks of mine which often have those violins still, the growl/drone/screech sound designs seemed to sound better balanced and therefore i should dial down the treble of those in general slightly within the projects perhaps) on other
  7. Talking of labels... I have actually tried to send demonstrations of my music twice to record labels. First was Heavy Artillery Records, they were not interested and no wonder since the demo was crap i know it even though i'm not fully entirely sure as i don't remember anymore which 1 i sent there (maybe 'Nightfall'? of my tracks. At least that was total crap shit early production from me and i think it was at that point when i tried). Second was Monstercat but considering how big that one is, no wonder they were not interested of my demo ('Through the Darkness'). Labels (especially bigger one
  8. Ok so, i installed the free trial version of Reference 4, got now 21 days left, there actually was a preset for the needed EQ for precisely DT880 250 Ohm version and it looks exactly like the blue line on your picture of the headphones average frequency response. So i put that on even if i have the 32Ohm version (there wasn't a preset for that), only to discover that it made the sound on my headphones really weird. Assuming i have now gotten used to the same sound output on my headphones, it is understandable obviously, however, that precise preset makes treble so weak and high-mids so strong,
  9. I assume you mean we are steering way far off-topic into some relationship talk and psychology etc, but do not know what the abbreviation PPR stands for. I tried Wikipedia and even Urban Dictionary, the ones that popped up do not make sense. But on bases of that assumption i suppose you are right. Let's keep it Music Business related mostly if posted here. I mean not many have started replying at all about anything, and also have unanswered stuff on many things i have asked for opinions, perspective etc
  10. The last sentence is in fact though the "find your level" partner fact, let's look at this in bigger scale, as in hardly celebrities for example with big accomplishments of some sort and hence net worth are together with someone who hasn't made any significant things to match the others at least in certain aspects. But still i suppose it is commonly the males precisely who have done big that "score" a "trophy wife" spoken in common terms i have heard during my years, am i right? As in usually the successful males have less "successful" (considered business/financial world-wise, but
  11. Dammit man, again with the controversial feeling with the truth, this part of your reply not only amazed me from the professional outlook of it as the "being able to provide and has future" is a huge factor of being desirable man for the wanting to settle down ladies as i thought already on one of my long ago blog posts, but also made the dream of having it all, as in being free to experiment as musician at home yet also in mutual love with a woman with bright settle down future ahead, crash and burn like a zeppelin behemoth on Battlefield 1, oh the humanity. However, isn't it a bit two-s
  12. @AngelCityOutlawOk you hat the nail in the head with your reply. Exactly the amount of music composers and producers especially boosted by the age of computers and DAWs, kind of explains the amount of talented ones that aren't as big as some others. More musicians than is even needed even if music is on demand on many things. Yes I suppose it completely depends on the publicity of the performer how much they are paid still, the more famous the name, the more people are interested about buying tickets to shows of any kind that have the performer perhaps and hence the performer earns mor
  13. I assume those average salaries are still untaxed, and even still those sums are BIG. But take John Williams, though my mind has not comprehended it properly on movies and such and it has just gone by on credits for my shame, it still seems slightly familiar as if i still have seen it so yeah.. Star Wars themes, freaking Indiana Jones, everyone knows those man though can't understand why didn't i know the composer for them properly. But he seems to fall into same category like Hans Zimmer (according to the website you linked) of whom i remember hearing and seeing on the credits of the music as
  14. Yeah but that is precisely what i meant, the music business favors the performers more who might be touring hard and living life on the road. But it doesn't necessarily favor the ones like i am, as in only a creator/designer, a producer and a composer. As in buying only music is dying business isn't it? I make the music, but never ever want to get up on stage to play my music for a crowd as dj, which would still fall into my category of performing live as all my music is electronic. Though a lot of my creations i composed with virtual instrument libraries and would not fit to a "dj" or anythin
  15. Hey fellas. I'm starting out this topic in order to possibly find out others thoughts / opinions and experience of music as sort of a business if you are interested to reply in anyway. I have actually written a blog post on my home website already about this but i would assume that not many would stumble there, and especially reply anything at all from their end, as no one ever has on either of my home websites. Anyways if you are interested, read it here: https://sunshineartwave.wixsite.com/home/single-post/2018/04/16/Music-Business Now, as you may know, there are A LO
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