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WIPs / Re: Idea I've been working on between school
« on: November 28, 2017, 07:34:59 pm »
Says track removed, for me
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Mixing/Mastering / Re: iZotopte Neutron - Anyone Using This?
« on: November 28, 2017, 07:29:25 pm »I do. But I had to get it from official sources. My best casino for online slots gave me some extra cash and I decided to put it into my career. My 2nd career, music nowadays is not that profitable anymore. I like the programm. Very handy
Might wanna edit the link out, could come off as advertisement
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Sound Design / Daft Punk Aerodynamic Guitar Solo, Explained: (I think)
« on: September 01, 2016, 01:48:07 am »
I just made this as a youtube comment after being relatively upset about people not giving daft punk credit for their fantastic work on this, so sorry for the aggressive tone:
The guitar solo is a two-handed tapping solo, one hand aggressively hammering on and pulling off while the other hand modifies which notes the pull off returns to. This is somewhat easy for a beginner, and incredibly easy for an experienced player. The reason it sounds so "off" even if you match the tone to a piano or digital synth is because as they admitted in an interview, the end of the sound (and the song itself) was influenced by baroque music, which explains my next point:
They tuned the A to somewhere between 320 and 332 ( and adjusted the other notes accordingly (there's charts on how to do so online) because that was the standard for the frequency of "A" during that period; it's changed over time. If you play the solo in 340 (modern default) and then play it in their tuning, you'll immediately hear the difference. It's subtle, but it's there and it's the reason that people have struggled to perfectly emulate what's going on. As for the pitch bends, they did of course apply some sort of post processing to the solo but the actual solo is without a doubt, guitar with effects like distortion, maybe a wah pedal and some filters/envelope automation.
I'm not going to act like I have the exact answer but to assume it's a synth because it's technically advanced is taking away credit where credit's due.
The guitar solo is a two-handed tapping solo, one hand aggressively hammering on and pulling off while the other hand modifies which notes the pull off returns to. This is somewhat easy for a beginner, and incredibly easy for an experienced player. The reason it sounds so "off" even if you match the tone to a piano or digital synth is because as they admitted in an interview, the end of the sound (and the song itself) was influenced by baroque music, which explains my next point:
They tuned the A to somewhere between 320 and 332 ( and adjusted the other notes accordingly (there's charts on how to do so online) because that was the standard for the frequency of "A" during that period; it's changed over time. If you play the solo in 340 (modern default) and then play it in their tuning, you'll immediately hear the difference. It's subtle, but it's there and it's the reason that people have struggled to perfectly emulate what's going on. As for the pitch bends, they did of course apply some sort of post processing to the solo but the actual solo is without a doubt, guitar with effects like distortion, maybe a wah pedal and some filters/envelope automation.
I'm not going to act like I have the exact answer but to assume it's a synth because it's technically advanced is taking away credit where credit's due.
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Samples/Plugins/Software/Gear / Re: Bitwig
« on: March 30, 2016, 08:07:46 pm »This might not be the right thread to bring this up but I was inspired to download the demo version of bitwig;
my immediate and only issue so far is that I can't figure out how to change the velocity sensitivity for my keyboards/overall sensitivity in general? I have a korg microkey and a m-audio keystation, both are fairly responsive but in bitwig they dont deviate more than 5-10% if even.
Believe me I searched online for almost an hour before I gave up and came here, I hope someone might know the answer.
I looked around for this the other day as well, but couldn't find anything to change MIDI velocity on the fly like with Ableton's built-in plugins. There are plenty of free third-party plugins that can do this, though.
What sort of plugin?
Would I need to establish it within my current default templates (so when I open a new project, it's automatically set up?) Like for example my current template for a new project is 5 samplers, Fm8, serum, massive, 3 instances of kontakt and a realistic custom piano eq/reverb for fleshing out ideas I thought of on an actual piano.
Would the plugin route to the master, or...?
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Samples/Plugins/Software/Gear / Re: Bitwig
« on: March 20, 2016, 04:07:24 pm »
This might not be the right thread to bring this up but I was inspired to download the demo version of bitwig;
my immediate and only issue so far is that I can't figure out how to change the velocity sensitivity for my keyboards/overall sensitivity in general? I have a korg microkey and a m-audio keystation, both are fairly responsive but in bitwig they dont deviate more than 5-10% if even.
Believe me I searched online for almost an hour before I gave up and came here, I hope someone might know the answer.
my immediate and only issue so far is that I can't figure out how to change the velocity sensitivity for my keyboards/overall sensitivity in general? I have a korg microkey and a m-audio keystation, both are fairly responsive but in bitwig they dont deviate more than 5-10% if even.
Believe me I searched online for almost an hour before I gave up and came here, I hope someone might know the answer.
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Samples/Plugins/Software/Gear / Reducing Noise from speakers: Tips, tricks, suggestions
« on: January 26, 2016, 10:28:53 pm »
Hey guys,
I know a lot of us, especially those who are new, have some pretty decent speakers but have trouble reducing or removing noise from various interference, and was thinking we could have a post where people list tips on how to reduce buzzing, hums and random sounds from their own experience ranging from beginner to professional.
Some examples from my own experience:
If anyone has anything else they'd like to add, feel free.
I know a lot of us, especially those who are new, have some pretty decent speakers but have trouble reducing or removing noise from various interference, and was thinking we could have a post where people list tips on how to reduce buzzing, hums and random sounds from their own experience ranging from beginner to professional.
Some examples from my own experience:
- Use a wooden stand or stand with foam pads so the speaker doesn't come into direct contact with any metal that isn't itself and its cords
- Remove all products that produce waves on the electromagnetic spectrum like radio waves, microwaves, wifi etc (and yes, that means putting your phone on airplane
- Keep your cords as short and thick as possible. By thick, I mean XLR>TRS>RCA. Honestly unless RCA is your only option (Most decent-high-end speakers offer more than RCA) you should never use it. If you DJ small parties where you bring your own wires, this definitely applies. And in regards to length, only use cords as long as you need. Normally when I use cords for other purposes, more is better, but more length in your audio wires allows for more area for interference.
- Don't let cords touch other cords. (This one is more of a superstition of mine unless there's some facts behind it I'm not aware of)
If anyone has anything else they'd like to add, feel free.
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Mixing/Mastering / Re: Anyone give any mixing tips for a brand new producer?
« on: January 25, 2016, 01:40:31 pm »What are the only plugins you should use in your master channel?
Only plugins you'll use most of the time: EQ for tone, limiter/multiband compressor for loudness, saturation for warmth, and maybe reverb for shimmer.
Only plugins you should use: whatever it needs.
Hopefully this video helps you a bit too
Am I the only one who avoids putting anything on the master channel at all costs until the very end/something odd/irregular requires it?
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Mixing/Mastering / Re: Stereo Separation
« on: January 25, 2016, 01:27:05 pm »I think people got used to all kinds of "stereo knobs" so much they forgot the wonders of plain simple panning.What I don't get is how some tracks seem to have pretty much everything toward the centre, but in a stereoscope the image is quite wide.
In the track I'm working on I've panned things so that (in headphones at least) the panning sounds quite extreme, but the overall image is only registering as about half as wide as the track I linked to.
Ahh so I'm not going to act like I know more than I do, but the problem is your perception of "width" (something that will get better over time, like a muscle)
This article messily sums it up. While the guy knows what he's talking about, his writing style is all over the place. Just control+F "Kraken" and hit play; read the entire thing if you're interested.
http://www.nyonyxx.com/production-help/2015/12/15/mid-side-edm-width-eq-compressor
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