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Posts posted by SnappleMan
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What matters more is how you play it. But, DiMarzio SD is a good pickup, so is the Seymour Duncan JB. If you're planning on doing lots of diving, you'll want a Floyd Rose bridge and a locking nut, if it fits your guitar.
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Official abbreviation for microphone? You've naively adopted spurious pedantry.
For all my life I used mic, but Firefox spell check keeps underlining it
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The higher quality the mike (yeah, I looked it up, the official abbreviation is "mike" not "mic"
), the better, but you can use sm57s, just make sure you know how to set them up properly. When recording non-mono audio, you have to be very careful of phase problems between the two or more mikes. Just make sure that the mikes are not pointing at one another, and it SHOULD help a bit. But, getting into the actual recording of the piano, you really need to do a little bit of homework. You can get a great recording with just ONE mic, just make sure it's a good one and you place is where the piano sounds best. To know where it sounds best, you gotta think logically about how a piano "amplifies" itself (PROTIP: It's the LID). The piano is meant to be listened to with you sitting perpendicular to the opening of the lid, so you place the mike there. BUT, make sure you don't place it too low or too high, pianos are notorious for drowning out recordings in overtones. Usually, I point the mike at half the angle of the opened lid, so if the lid opens at 45 degrees (I think that's standard), point the mike towards the opening at 22 degrees.Once you get that set up, you can start adding more mikes. Try using 2 of them in the player position, one pointing straight down towards the lowest register, one straight down towards the highest register. Or if you have a good condenser mike, place it right in the center of the keyboard. You can also mike the inside of the piano, just point a mike at the strings, you can experiment at varying lengths.
The other big part of the sound is the room you're recording in. I'm not going into what makes a good piano room, but basically make sure it sounds good in the room. I don't think you should try getting into miking up rooms yet, that's a whole new animal in itself. You'll get a good amount of room sound into the normal mikes anyway, so yeah.
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Well this is a site where people remix. Not everyone here generally "makes music" since not everyone here is a composer. As such, I don't think it's unreasonable to ask what you remix with as opposed to what you compose with.
Everything we do at OCR involves us having to recompose a song. Simply remixing (as in, getting the original raw audio and making a new mix out of it) is NOT allowed here. And on top of that, there's no such thing as dedicated "remixing" software, all music software is primarily for composition.
Cluestick sounds like a fantastic idea
Though in cases like this it will only shove his head further up his own ass. -
............\m/
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Don't listen to Yoozer, he's just bitter because he can't afford the auto-remixing program the rest of us use. It's called CTB PE (Cinnamon Toast Beats Producer Edition). There's no current way to crack it, so the only way to get it is to pay the $2000 pricetag for it. It lets you import WAVs and MP3s and, converts them to MIDI (still a bit glitchy) and then you arranges the song based on the automatic genre detection algorithm. So I just import a WAV or midi from www.vgmusic.com and pick the "ROCK/HEAVY METAL" preset. Works great.
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Unfortunately.
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Warning!!!
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I'm so glad I use Cubase...
Why not just buy yourself Cubase 4 and start cranking out the hits?
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I wouldn't say more click, just tone down the extremes of your EQ, the rest of the mix SHOULD fall into place.
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Bass drum is too loud, WAYY too loud. You've destroyed it. Ughh
Turn that shit down. But before you do that, why not reduce your 400dB gain at 80hz and see how it sits?? -
Your style of music doesn't really matter, you need whatever will give you the most flexibility and the most room to grow. With FL Studio, you're limited because it's very dependent on loops, Ableton is great, but it's tailored more towards users who use their computers as an instrument on stage. Logic is the best of your options, while it's not as easy to create loops like in FL (it's easy, just different) and will not work for real time arranging like Ableton, it excels in every other aspect of music creation.
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I love this.......
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YES!! Dwelling Of Duels is the number 1 way to improve as a musician in this scene.The quality of work has improved so much since it started,and the comfortable, friend atmosphere is exactly what people need to look at themselves and their music critically without getting upset or discouraged.
I love DoD, because of it I made some real, longterm friends, improved my music a great deal, and it's so insanely fun!
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Sorry to burst your bubble, bro, but it when I try to load EWQLSO into Kontakt 2 (legit, if you're wondering) I get "THIS LIBRARY IS PROTECTED FAGGOT LOL!"
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Kompakt has some great features but nothing I'd want to use unless I was forced (like in the case of anything that comes bundled with it). You can't use the samples with anything else, they're packed in .lib files which you can't use with anything but that version of kompakt. So even getting full version Kontakt wont let you use your EWQLSO samples with it. The EWQLSO expansions require the original version to run.
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EWQLSO Silver is a basic necessity at this point. It's very well articulated for the price, and contains some really good strings. When you learn it well enough that you can notice all the limitations, is when you should upgrade to Gold.
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What's the point of going through the OCR shop? Do we get a discount?
I'd personally go through some of my ReMixer friends who work in these places and help them out with commission, not to mention get their employee discount and whatever else they can throw at me. But thanks for the heads up, I'll be sure to pick something up!
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Hmm, well, as far as mixing goes, you're doing it all wrong. Everything is completely dull and lifeless, you need to get more instruments to take advantage of the 500-1000hz range, it just sounds really badly scooped.
Arrangement wise, you have a few problems there too. For one, it's too slow, sounds boring. The instrumentation is lacking too. The sounds you chose are flat and boring. That lead is particularly bad, and the organ you have playing needs a more expressive performance. The drums sound fine, but again, with this slow tempo you really have to work harder to fill the space with rhythm. And I don't mean add more notes or drum hits, I mean think rhythmically and make the silence between the drumhits work for you. Also, the bass has to be changed to something that's not a droning piece of shit. Try layering some piano chords or SOMETHING to get a more lush sound out of this, it's too damn boring.
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No this thread does not fail - I think it's a good idea to discuss production techniques and swap ideas in relation to that.
1. Don't be afraid to throw songs out/delete songs. I have a folder that I call 'fail', and I put all of my garbage into it. Some nights I will come out with something that I think sounds great, and then the following morning listen to it and realise that it was just plain rubbish - and into the fail folder it goes. However, when I feel like making something but I am out of ideas, listening through the fail folder I often find an element of one of the songs that I like. I can then take that element (perhaps a chord progression or bass groove) that I can use to make a much better piece of music.
2. Other than mixing, when making a song make sure you know what element of it you want to stand out. This also has a lot to do with what you're making the song try to convey. You can draw attention to different instruments by making them play things with a little more gusto (varying length of notes, range of melody and rhythm) without even touching the volume.
3. Don't forget the human element. You're making a song for a reason, make sure that every element goes towards achieving the message/emotion that you are looking for. When we get too technical we can lose sight of the fact that we are music artists and that music is still an art.
These are not techniques, these are theories. The technique would be to explain how you would do these things. Stating the general idea like that is fine, but you have to go into detail to help someone. These kinds of generic ideas are what everyone is gonna be saying, so after the second page, everything will be repeated with nothing really having been said. I don't know how you people can't see that.
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How are these techniques? So far everything that's been said has been along the lines of:
"To make your song good, make sure it sounds good and doesn't sound bad."
This thread fails. Though it is funny to read a Nicholestien post where he tries to use punctuation and proper grammar, but still uses "there" instead of "their".
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Sounds to me like an Udu drum. Trying to recreate this using a pitch envelope would not only be impossible for you (unless you have a team of professionals at your disposal), but it's impossible overall to emulate that natural shift while retaining those tonal characteristics that make the sound sweet. As for the attack and all that, that's just compression, very simple. I suggest you get yourself some decent Udu samples, or any ethnic drum that has those characteristics. You can get decent free stuff just by Googling.
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Man, kyle, you gotta stop extending this shit. People will take advantage of you if you don't man up!