LuIzA
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Posts posted by LuIzA
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I was going to go for the AxeFX until the Pod HD series was unveiled, just got the HD500 a few days ago. Can't really do any real remixing without any headphones though, so I am hesitant to record anything and put it up without being able to properly mix it.
Looking forward to hearing some clips, as soon as you can record.
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I would place that condenser a liiiiittle bit closer, maybe only an inch or two away from the grill and I'd put that 57 right up against the grill to where it's touching. I'd also maybe angle the 57 a little to get a warmer, darker tone and I'd aim it to the point where the center of the speaker meets the cone instead of aiming it dead-center.
I'll experiment with angling the SM57 next time.
I did try putting the condenser near the grill, off axis at the other speaker, but I liked it better where it is on the picture. I didn't experiment moving around the SM57 though.
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Frequently I record myself humming an idea on my phone's voice memo. It's not perfect, but it keeps me from forgetting an idea.
I do this extremely often, I keep my phone's little recorder as a shortcut, and it's pretty decent actually.
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even soloed the low end is a bit excessive, quite boomy. but in a mix context, that boominess would muddy up everything like hell. so I had to filter it out to make room for bass and kick drum.
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despite being master recording. it helps to have a reference track, that way you have attempt to shape the sound by comparing it your reference and find the frequencies that offend, and the ones that are lacking.
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if you mean softsynth, then definetely Komplete. best buy I've made in years, has pretty much all you need.
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It definetely sounds like a stringed instrument, but don't think it has any fx on it, at least the production doesnt suggest it.
I initially thought it was a dulcimer, but i don't know if it can be played that way.
I don't think it's a bouzouki or something like that played tremolo, because the sound decays fast.
EDIT: looking at some youtube videos, I really think it's a hammered dulcimer.
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for the longest time I've been trying to find out what this instrument is:
http://www.youtube.com/watch?v=hQHp6IUN8P8&feature=fvst
it plays at: 1:06 , 1:16 , 2:29 , 2:39
anyone know?
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I don't plan to buy, but out of curiosity, how is goliath compared to its competition?
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What do you mean when you say philosophy? Like sound design? When to use what kind of sound, where, and stuff?
You seem to be asking for more than "How do I make patches" but I'm not quite clear yet.
Do you know what all of the typical synth parameters are already, like filters, routing, LFOs, oscillators, and how to get a good sound out of a typical subtractive synth?
I'm not sure how to explain it myself, but it's something like that, yes.
it's like, when working with real instruments, you get ideas in the form of "so the piano plays this melody and the guitar plays the rhythm" for instance. How do electronic artists go about in their craft? do you start with a synth texture and then create a melody or whatever, or do you create your melody and then mess around with sounds for it?
most of the time, I tend to think of instruments, before notes. it's like I get textures in my head, but they are called "piano", "guitar", "sax", "violin", etc
so yes, part of my question is pretty much "how do I make patches" or "how do I get the sound that's in my head". I know how subtractive synthesis and its parameters work, though my head kinda spins at how many possibilities there are, in contrast to just "a piano"... I can add a crapload of FX, and I'm not afraid of doing so, but first and foremost, it's a piano.
Finally, when it comes to other forms of synthesis, I just simply don't know how they work.
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http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/405559-synthesis-tips-tutorials-how-create-your-own-patches.html
Put a method to the madness. Start with an init patch - that's usually a single sawtooth or square wave with the filter disabled. Just start auditioning different combinations of oscillator 1 and 2 - one set to pulse, the other to saw, then with different tunings (1 octave up, 5th up, third up, octave + fifth up) and all combinations of waveshapes. Then oscillator sync; what happens when you sync, what happens when you change the tuning?
When you've got those combinations learned by heart, filters are the easy part; lowpass emulates the loss of energy during vibration, envelope controls the speed of that; highpass and bandpass make the sound chitter (and they're usually not that useful, but nice to have - especially if you can layer the sounds).
As for learning other forms, check the thread I've linked to.
that much I already learned. I'll check out the thread, but yeah, I'm looking to learn other types of synthesis like wavetable, granular, and so on.
Also some kind of "philosophy" for working with synths, as like I said, it seems to me like a whole different deal than working with real instruments
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How did you guys do it?
it's obviously a lot different from making music from physical instruments (or samples of physical instruments). How does one go about learning their way around them? Sure, it's easy to just browse patches and find the one that suits the music than editing it superficially, but that can be inefficient. I want to know how to get some of the sounds out of my head.
Please don't just tell me to mess around with synths, with anything other than good ol' analog-ish synthesis, it easily gets over my head.
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I can see what sloppy parts you mean, The intro is also MUCH too long. when it does start, it's pretty awesome, thought the sound seem kinda low quality.
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I bought the Axiom 61 Pro's competition: the Novation 61 SL MkII. I'm mostly quite pleased with it. it has far better control than the Axiom, but (I'm no keyboardist/pianist, but) the keys action feel a little funny to me. I tried a regular Axiom before, I liked the keys better on that one, though they stick from time to time.
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when I have the time to mic an amp, I never bother with a second mic, too many phase problems to deal with.
EDIT: just a few moments ago, I re-recorded a project's rhythm guitars using 2 mics, my good ol' SM57 and my brand new AKG C-214, placed the SM57 an inch from the gril, off axis and the C-214 about a foot away facing the very center of the cab. Took me about 10 minutes to move around the C-214 to get the best sound I could for the time/patience constraint. But really, I was quite pleased with the result, while I could still use the SM57 signal alone, the C-214 signal complements it to come alive, though the latter doesn't sound good at all on its own.
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I got Komplete 7 and therefore Guitar Rig 4 and Rammfire. I thought it's a little better than the Gratifier, but still "meh".
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wow, thanks!
I have yet to try this though. I'm in the middle of a job with a tight deadline, so I'll stick to my current workflow for now.
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yeah, I know how to route the outputs in Sonar, my problem is to route each MIDI track from Sonar to the right instrument within Kontakt, and in Kontakt, how to route each instrument to one of the 8 or 16 outputs that isn't the first stereo pair.
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I just got Kontakt, so I don't know much about it yet, I'm wondering: do I have to use one Kontakt for each instrument in my DAW or can I load all or more than one instrument in one Kontakt and route the midi and outputs accordingly? if so, how do you do that?
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ASIO4ALL only works when there is only one application running that has sound output. (so yes, even if you're running a youtube video in firefox or something, that needs to be closed)
ASIO4ALL is terrible because of that, so close down all other applications and start FL Studio AFTERWARDS.
Yes, but it actually is what made my new audio interface work. That's how bad Mackie drivers are. I guess I can/have to live with that.
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if you think you may switch OSs eventually, you probably want to pick a DAW that's available for both Mac and Windows (ie Cubase, Reason), so you don't have a learning curve when you do the switch.
As far as an audio interface goes, you'll probably want one with MIDI (in case you have older keyboards), Hi-Z inputs (for guitar) and as many inputs you think you'll need. Fishy mentioned FireWire is better, but I've never used anything FireWire, all I can say is that USB isn't bad at all. With ASIO drivers, you can get really low latency and whatever you do DO NOOOOOOOOT get the M-Audio Fast Track Ultra, it's utter !@#$.
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Just wanna throw this idea out there: how about a library exclusively for ethnic vocals? Like.. I really want to find varied, high quality samples of the middle eastern type of vocals where they just kind of 'whine'. I don't know how to put it into words but you probably know what I mean.. that singing you hear as the out of focus sun starts rising over the Arabian desert. African chants are always nice and Eastern Noh Theatre singing is something I don't think I've ever heard in a contemporary song.
I bet those libraries are out there somewhere but probably cost $4,000 or something crazy.
I absolutely second that. I've always wanted middle eastern vocals.
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Koto + Sitar = $169 instead of $200
I'll probably be getting that!
Guitar Rig vs. Amplitube vs. Waves GTR vs. Revalver vs. ....
in Music Composition & Production
Posted
Was I the only one who liked the PODxt's tones but hated the PODX3's?