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DDRKirby(ISQ)

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Posts posted by DDRKirby(ISQ)

    FLMC X: Final Fantasy I

    in Competitions

    Posted

    eh? you mean color-coding your patterns in the playlist? I always did that at the end. As long as you keep them in order and categorized it shouldn't be that hard.

    I mean, doesn't matter if everything is colorized, if they're all in a huge jumbled mess.

    FLMC9: The Legend of Zelda!

    in Competitions

    Posted

    Side note, just got out of FL and my projects already sound a little better. This is crap. So much crap.

    eh? explain. wat u using now?

    also, if i haven't driven this point home yet ^^; the small number of instruments DOES help everything stick together. I'd much much rather have a few, very good fitting instruments, than way too many that clutter a mix.

    BUT it can -sometimes- be useful, to add some more layers into the mix, IF that's what it needs.

    This is all very case dependent and it's possible that you don't need this at all. HOWEVER, you're probably right in thinking that it might be useful in some way to explore it a little.

    Again, dragor's examples provide probably the best illustration of this. Not only does he do it with his own projects, but he points out examples of real professional trance tracks where you can hear the concept of "fullness" as he describes it.

    some things to keep in mind:

    -delays and reverb--they have their places! for example, an arpeggiated synth might not need delay since it's playing so many notes. However, a "chorder" or single-note "pluck" type synth might benefit greatly from a delay.

    -layering! layering sounds can be very, very useful (not just for giant supersaws either ^^;). Ex. adding more oomph to a bass synth, or adding a more pronounced initial pluck sound to a long sustained synth. Experimenting can be good, but in general it's better to have a reason for layering ^^;

    -basses--"fullness" in basses is a bit of a different concept but is also very important. I use boobass all the time for this.

    -Volume levels--elements that you add =solely= for "fullness" shouldn't be that loud. Should be juuust loud enough that if you're really listening FOR it, you should hear it, but shouldn't stick out in the mix enough that you would hear it with everything else playing.

    -different kinds of melodies--dragor has something to say about this too--for example the difference between "gated" synths and "sustained" synths...

    Of course, I can blather on all day about this stuff, but in the end it's REALLY just up to listening to things, trying new things, seeing what other people do, and in the end just deciding what sounds best/what you like.

    Cheers,

    FLMC9: The Legend of Zelda!

    in Competitions

    Posted

    What did you mean by a more full sound? I'm interested in this because I've been trying to figure out what exactly it could mean... and how all of my projects seem to be lacking it.

    Basically, most of your arrangements tend to be a little more minimalistic, in terms of you having less instruments (in number) and in general each instrument is less "filling"--compare your lead to my supersaw lead for an example of this.

    I LIKE the more "sparse" sound. It works very well. But I'm just saying there's room there if you wanted to do something different.

    also, download Dragor's tutorials on fullness, as this kind of exemplifies what i mean.

    http://www.djcooler.com/dragor/tutorials.htm

    They're more geared toward trance, but they're a good read/listen no matter what, and help explain what I'm talking about.

    more coming later if you want me to talk about this more.

    FLMC9: The Legend of Zelda!

    in Competitions

    Posted

    its called flooded woods.

    its pretty strange but tell me what you think if you like it or if you dont like it! (perferably in a pm)

    i didn't dig the intro, needs moar crazy fills n breakbeat variations methinks. but this is goooood stuff.

    Mastering

    in Music Composition & Production

    Posted

    mastering is harrddddd and this is why many people get professionals to do it for them. Also there's the fact that having a separate person master your track can be better since there's no "bias" in that he will be able to hear things you, as the producer, don't hear, and he won't hear things that you do hear.

    of course, it is still more than feasible to do a somewhat good job mastering your own stuff, though of course it really depends on the tools and experience you have. You have to really know your sh^t about EQing, compression/multiband compression, exciters, spectrum analysis, etc.

    of course, remember that some problems should be solved during the mixing stage, and not left for the mastering to try and fix.

    ...uhmmmmmmm that's about the extent that I know o_o;;; I don't know how to master well XD

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