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Hy Bound

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Everything posted by Hy Bound

  1. Other than doing as they asked with posting it, i would say you could add some reverb and depending on the circumstances a little "wide" delay. It could also be your mic and/or preamp you're recording into.
  2. Well, I don't even know what the hell that is, so you're way ahead of me
  3. Well, I believe if you have the Kompakt version of Colossus you can import it. I'm a Kontakt 4 virgin myself (bought Komplete 6 yesterday) but I was able to load everything else into Kontakt Player so I would more than imagine it would work with 4.
  4. Ummmm, bump? Any thoughts whatsoever? I know its not a GREAT track...
  5. Man, you guys are really talented! I wish I could afford the all the stuff associated with photography... This looks like a lot of fun.
  6. Hy Bound


    I don't think I chimed in on my thoughts yet: Despite the anti-american, and the extremely overused anti-corporation insertions, I thoroughly enjoyed the film. The 3D gave me a super bad headache for about half the movie, but i then realized that it was because i forgot my glasses and me trying to strain to see better negated the 3D effect... So, even blurry, the effects were amazing. A lot of the story was cliched and heavy-handed, but still enjoyable. Anyone else feel like the first 3 notes of the main theme sound EXACTLY like Titanic's theme? I kept expecting the Na'vi equivalent of Celine Dion to pop out and start singing. Really bothered me...
  7. That was my thought too, but now that i think about it, it seems too easy
  8. The guys over at Trifonic have started up a production blog. For those of you not "in the know," Trifonic are some great Trip-Hop-esque, Breaks-esque, DnB-esque producers who also did some of the processing for BT's This Binary Universe. If their own stuff (namely Parks on Fire) doesn't win you over to their production muscle flexing, then helping produce TBU should perk your ears. ANYWAY, the URL is http://nextstepaudio.com/ and has a couple good beat programming techniques and bassline layering techniques you should check out. More to come soon.
  9. So one of my old friends has been getting into drift racing and making pro-grade videos of the events. He has directed a couple commercials and at the very least a Foreigner music video. Needless to say he's pretty good at this. He asked me if i could make a track for one of his videos and it turned out he needed it "tomorrow." So without much further ado here is the video with my "in one day" electro-house track made entirely in Reason: http://vimeo.com/8662833
  10. I call MOFOin' Terra! I make it good! I Promise!!!!
  11. LUCAS ARTS ADVENTURE PACK FOR TOO FITTY! I don't care what your relationship is with those games, but for TOO FITTY! its more than worth it. Also, STALKER for 1.99 is even more more than worth it. That game is hard but flippin' neat and scurry.
  12. Electro house is stuff like: Deadmau5 some of Yuksek's stuff Mason (wait till it kicks in) (I love the 6/8 time signature, but yes that still means its house)I think a lot of people think SebastiAn is electro house. Basically electro house is a 4 on the floor beat with mainly synths and not usually subdued... I'm not a fan of granularizing genres like this, because someone may completely disagree with me about what is considered "electro house"... and i don't like being told i'm wrong.
  13. Holy shit, now i really want to do a remix of this song using those samples... Grrrrrrrrrrrrrrrrrrrrrr, must fight the urge!
  14. Controllar! Mouse and keyboard is for chumps. My problem with mouse and keyboard is that when i play fps's i play them with the sound cranked, so whenever there are jump-scares (STALKER, Half-Life 2, Crysis) i jump and get all turned around and aimed at the ground... No fun...
  15. Well, you can find a much more realistic Spanish guitar from EWQL Colossus or Goliath, but it costs lotsa moolah. Most times you can get any random sampler and find a spanish guitar preset that sounds about that good, but the more realistic, the more expensive it is. Someone else might be able to show you a free version on kvraudio.com or something, but spanish guitar and ethnic instruments tend to be a little more obscure.
  16. Theres another forum for this kind of thing. http://ocremix.org/forums/forumdisplay.php?f=10 Its actually called remix request.
  17. This is absolutely scrumptious. I really like how close to the original it originally is and then kind of makes its own way from there. Very relaxing, wonderfully out-of-this-world and enjoyable. Almost reminds me of william orbit.
  18. *ahem* Lotsa great stuff on there.
  19. I used to have this problem a lot and still have it a little bit, but you need to basically mix with 70Hz or so being right at the max limit of loudness and then decrease the dB level by 3 every octave so it tapers off the higher you go. However, every song and genre has its own mixing standards so do what you can to find a happy medium. Look on KVRaudio for a frequency analyzer. They are EXTREMELY helpful for making sure your levels are in check.
  20. Rank1's 'LED There be Light' is a pretty cool tune and the production on it is pretty good as well. I also personally like Armin Van Buuren's stuff. I know most people disagree about his "skills" but I like it.
  21. Ok, so I have seen a bunch of videos of people showing off their mixing/mastering techniques and I have a question... It looks like the beat on just about everyone's tracks are well into the clipping range. Most people just max that slider and mix in everything else behind it. Am I just misinterpreting what they are doing or is that just what you do and I missed that memo? I thought having the kick drum hit the +6 dB range gave it a satisfying click, but I thought that anything going above 0dB was frowned upon. For instance, in this video at about 1:30 there is a shot of Junkie XL's sliders set to max and clipping on all of his bussed tracks. Now, I consider JXL to be one of the better producers out there so I feel like thats the straw that broke the "no clipping" camel's back. Any advice is appreciated.
  22. That really was pretty boring and predictable... Kinda exactly like his Uncharted 1 review. I think he could have done a much better job this week.
  23. http://www.ableton.com/launchpad I was wondering what everybody else thinks about this thing. As someone who really wants to play and perform live, I'm trying to figure out what would be one of the most useful bits of gear to acquire with that in mind. I'm really set on getting the Allen and Heath Xone 4D as a DJ mixer, having played around with one at a Guitarcenter and loving the living shit out of it. But I was thinking what people thought of this, it looks pretty interesting and portable enough to take just about anywhere. Without spending 3 grand on a DJ mixer would this be a suitable live companion? It seems Ableton is really wanting to put out a lot of their own hardware to compliment their software, which I'm all for. Thoughts? Rants? Discussions?
  24. I'd say virtual instrumentation is only as good as the sampling technology behind it. You have round-robin sampling, you have a large variety of notes played per velocity range and you have the amount of flexibility within the sampler (writing your own envelopes and such). Personally, I find the amount of flexibility within sampled orchestras quite tolerable. Sure, there are many things that a sampled orchestra can't do, but for for the most part, they are some sort of weird sound that you can do 99% of in post-processing. Sampled instruments are a necessity for people like us. The amount of money you can pay to record a second-rate orchestra for half a day, you can spend on a sample-based solution that sounds on par with what you would get from the musicians; minus a couple of quirks here and there to make it known that its "real." I mean, when was the last time you saw a drum set up that gets you the kind of results you get from just buying BFD or StormDrum samples? How much more did that cost? probably 10-20 times more? The only difference there is between a sample set and the real thing is a certain amount of freedom that you can get in live recording. But most of the time the number of times you would use that freedom is negligible.
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