klm09

Well, hey, if you guys are already working on 7, maybe I should do 23 instead? EDIT: Yeah, that seems like a good idea to me; I'll do 23, and see how 7 works out for you guys. I can still do it later on if necessary. Will have WIP by later today.

REMIXING. SERIOUS BUSINESS.

Ok. I'm working on something right now, I have 8 bars of an intro that I'm sort of second guessing, it might be a bit too disjointed from the original. But I'll do a few more riffs tomorrow (it's evening here) and then send that your way. Oh, and it's quite rough, very much a WIP. I'm gonna sketch out the arrangement and the re-record all guitars and rework drums, etc..

Ok, so I'd like to do track 7 (Dead Simple / Shawn's Got The Shotgun). TO and I talked about this in another thread, but I thought I'd post here as well. I suppose I'll read this thread and edit this post once I'm up to speed on things. EDIT: Right, so I guess I should reg at those other forums? But can I get a confirmation that I'm in this project?

lol i always do the opposite. drum set recorded in stereo. guitars, bass, vocals in mono. Funny, how the convention there is the exact opposite for electronica and rock / electro-acoustic music (ie. stuff played on real instruments). Then again, with electronica, you're generally not going for a natural sounding emulation of a drumset and the mono, one could argue, affords more control over the sound (it's easier to get it hot and punchy). While with rock, etc., you do want what sounds like a real drumkit, usually anyway, while the mono instruments (especially when close-micing) afford you more control over the sound. More specifically, take the space you're recording in out of the equation, and all the mentioned instruments *are* mono.

The style of music / drumming is also a factor in how one might to compress (acoustic) drums. Like with a laid back jazz-brush line, where you want to just even it out a little, a single band compressor over the whole drum mix would probably work fine. With rock / metal, if you want a really in your face drum sound by heavily compressing the snare & kick, you're going to need to at least separate the cymbals to a different compressor or channel, if you want to avoid obvious pumping. Or a multiband compressor might work. But basically, if you're not trying to make the drums as "hot" as possible, you're not going to need to put all the elements through different compressors. It all comes down to what kind of sound you're after. Putting it all through one compressor can help gel the sound together with just a little compression.. but too much compression, and it starts pumping. If that's what you're after, fine. But put different elements through different compressors, and you can avoid pumping even if you're compressing heavily, with some loss of cohesion. But at that point you're probably not going for a very natural sound anyway.

Awesome! They have a new album coming out soon (as you probably know), the single My Twin sounds pretty good IMO. Speaking of how I envisioned the project turning out, yes, the outcome is much less adrenaline drenched - I was thinking something like hard-industrial-death-metal-gabber, distortion on everything, that sort of thing. Maybe it's for the better that it was not to be.. you make the call.

Congrats for getting this project done. I've given most of the material a quick listen, and it sounds pretty damn good. Haven't really had time to properly delve into the material, due to lack of time.. which brings me to.. Some of you might remember me as the guy that kicked off this project. However, at one point quite early on in I basically dissappeared. I want to publicly apologise here for doing that. Life got in the way, basically. I had my finals in school, which took up nearly all my time, then I had study for an entrance test to another school. After that, there was my compulsory military service, which I'm still doing (since July.. only about a month and a half left, woo). Due to all that, I haven't even logged in here for like a year or something like that. Back then, I just didn't have the time or the energy to read all the posts in the original thread, to respond to everything, to listen to people's WIPs and comment, to handle all the management for the project. So I sort of stopped coming to the forums, daunted by the ever growing mountain of posts and material I'd have to go through. Next time I logged in, the project had been taken over by.. myf? Mythril Nazgul, right? Anyway, I want to thank him for doing that. To see this project fail due to my inadequacy to lead it would've been.. dissappointing. Great job, guys. And again, I truly am sorry for not having been a man and admitting that I'm not the one to lead this project. I should've let you all know, and to pass on the torch. But I didn't. I hope you don't hate me for it. EDIT: Oh, and two more things I forgot to add. I didn't make it clear that I don't pretend to be in anyway responsible for the outcome of the project.. er, what I mean is, I don't want any credit. But that's obvious. The other thing was that this project has been mentioned in MikroBitti, which is Finland's leading PC / technology magazine. I don't have a pic, but it's in the monthly "recommended links" section. Maybe one of the other Finns here can provide a pic.

Are you still looking for remixers? If so, I'd like to audition.

In addition to the things you mentioned there's for example that you can record direct into Cubase; have the backing playing live to headphones while recording live, like most pro recording is done. The recording process is auto-synced so you just have to sing/play at the right time and that's it, no wave exporting/importing etc. necessary. Other things (that I can think of) are more "working method" oriented, ie. that you can for example do a quick doodle with a synth line with the Subtraktor and Matrix, record that over Rewire into a Cubase audio track, work with in there, adding effects via VST, export that as a wav, import in a Reason sampler, and have it triggering rhythmically in time with your beat, which would be a pain to do with just midi notes. Or maybe you don't like the synths in Reason, but you love the samplers: use VST's for synths, and Reason for drum / sample sequencing. And one more thing: Reason isn't all that suited for mastering, and exporting single tracks out of Reason, doing your mastering eq, compression and whatnot, then recombining them is a bit of a pain. So just record the Reason tracks into Cubase and use that for mastering, with better compressors and more accurate EQ's via VST's.

When I want more edge from the strings in Orkester, I usually run the sampler through a PEQ (or whatever the 2 band parametric EQ is called again), put the frequency to the highest it will go, make the resonance/q as low as it will go, and boost to taste.

Whoa.. Awesome. I'm gonna have to copy some of that for my next trance mix.

The production isn't perfect.. drums could be better, blah blah. But this is absolutely one of my favorite OC mixes that I've heard. Just beautiful. Plus you've got this mish-mash Maiden/thrash/hair metal sound which I just adore! This is just so fscking awesome.. Please, I beg of you, make more stuff in this style. If I was a girl, I'd want, no, demand you to let me be your love slave, this song just owns way too much than should be legal

On listening to it for the second time, checking the lyrics while doing so, my eyes actually welled up from tears of joy. Technical niggles (such as that the drums are not quite of the same caliber as the singing, for example, not to say that they are poor) really don't matter. You have created a piece of music that I simply adore and am HIGHLY jealous of.

Pardon the double post, but this deserves it: http://www.members.optushome.com.au/brendanscott/supersweet/sweetreasonfaq.html An absolutely FABULOUS Reason faq. EDIT: It also covers some non-Reason specific issues that are asked quite frequently, like extracting vocals out of a mix.

Open up the remote editor. There's a group of knobs under "Velocity". Adjust the "Level" knob: the more you boost it, the greater the difference between 0 and max velocity in terms of volume, where 0 is quieter, while reducing it below the neutral middle position will apply the opposite effect (0 velocity is louder than max velocity). The other knobs tweak other parameters in a similar manner.

On another note, the mda 3 band compressor is quite good IMO. I've only really used it with drums, but it can, with little effort, get your beat to sound a lot more lively.

Yeah, but it's possible to implement it so that doesn't happen. Like for example by quickly crossfading from the old buffer to the new one when the delay time of the new buffer is "over" (like 300 ms for a 300 ms delay). Or by simply emptying the buffer normally (playing through it) and starting to fill the buffer at the new tempo / delay time at the end. Some issues rise with those implementations too (mostly that the delay will be off time until it catches up), but it's not as obvious as the "BWOOoonnng" implementation.

That's supposed to happen. Changing the delay time will create flanging effect. Exactly. And if the delay time is syched to the tempo, changed the tempo also changes the delay. It's not a bug at all. But it's not flanging.. it's like your delayed melody is going along nicely, "doot do doot do do dooooot", but then when you change the tempo / delay time it's like "doot do doot BWOOOOOOONNNNNNNNGGGGggggg.... doot do doot doot". I'm not kidding. I'll upload an example mp3 when I have more time.

You can't That, or rewire to cubase or any other valid Rewire supported controller that supports tempo automation. I do it all the time. However, there is a bug in reason: if you change tempo while using a delay mod, the delay mod goes into pitch bending spasms and screws your song up. Either dont use delay at all, deal with the pitchbends, or avoid the use of delay during tempo changes. Actually, it's not really a bug as such, as that's how they implemented getting the delay synced to the tempo again when the BPM is changed. The buffer for the delay is filled with data that corresponds to the unchanged tempo, and by doing that pitch bend thing it quickly clears out the buffer. Why they implemented it like that is a mystery to me; it's the only thing really that I'm aware of that would have to be changed to allow "clean" tempo automation. As the implimentation of rewire includes tempo change support deliberately, the delay's inability to perform well is an unintended and detrimental aspect of the reason system. By the accepted definition, this is a bug. It could have easily been fixed. However, to fix the bug would mean to change the system. Changing how the system sounds would be very inappropriate. People have completed songs in reason and would not want them sounding any different (or even being byte-wise different) in the downmix. I know I wouldn't. Thus, they wont change it. Its just unfortunate as it bugs the hell out of me. Yeah.. you have a point. Which came first, though? Rewire or Reason? If Reason, then your logic for it being a bug (although I do agree that it is such, just that it's intentional, unfortunately) is somewhat flawed, as at that time the tempo automation would have been impossible and the "bug" would never have been a concern, thus making that type of implementation perfectly viable.

You can't That, or rewire to cubase or any other valid Rewire supported controller that supports tempo automation. I do it all the time. However, there is a bug in reason: if you change tempo while using a delay mod, the delay mod goes into pitch bending spasms and screws your song up. Either dont use delay at all, deal with the pitchbends, or avoid the use of delay during tempo changes. Actually, it's not really a bug as such, as that's how they implemented getting the delay synced to the tempo again when the BPM is changed. The buffer for the delay is filled with data that corresponds to the unchanged tempo, and by doing that pitch bend thing it quickly clears out the buffer. Why they implemented it like that is a mystery to me; it's the only thing really that I'm aware of that would have to be changed to allow "clean" tempo automation.

Also, the Attack setting controls how quickly the note fades in.

Yeah, but that's for the reverb itself, so that when the reverb falls below a certain volume threshold, it gets muted. So you can't really use it for gating.

Nope. Each sequencer has its own proprietary file format, and converters don't exist. But: all of them can open midi files, so that's the best way. Beyond that there's making wavs of "your bit" and the other guy importing that into his sequencer. If this route is taken, it's a good idea to make a separate wav of every element in the mix even though it takes more of everything: time, effort, diskspace.. because that way you're not stuck with a certain eq or panning or whatever for whole portions of the mix.

Send it to a track, highlight the notes, right click, choose Edit Events, and manipulate the tempo from there.