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Messages - Marrow Machines

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571
Sound Design / Re: Saturation or distorted signals
« on: February 22, 2016, 09:00:31 pm »
interesting stuff.

The amplitude and harmonics correlated to loudness makes sense.

As does the presence of the distortion introduced onto the signal and the effects of what distortion being used.

I did a little bit of digging prior to this post, and found that this website offers a great example of the reasons for using different distortions.

LINK

I might need to look at the waves being effected under varying levels of distortion and send amounts.

572
Sound Design / Re: Saturation or distorted signals
« on: February 22, 2016, 05:53:43 pm »
Not too sure what you're asking but if your basses need some more girth, distortion is always helpful. Yes, you can create a return track with camel crusher/any distort plugin, have the dry/wet to 100%, and slowly add in that signal to the bass to the right amount. Low-cutting is good but for basses not as much, I would have a sharp cut at maybe ~ 100hz, cus everything below is kick and sub. Give it a little boost in the 200-300hz as well, but not too much that it overshadows the snare.

I was ultimately wondering how the distortion/saturation on different musical components seems to make the signal better.

Not sure if it's a loudness thing or a harmonic thing.

I was wondering what the best way to utilize the distortion/saturation unit in a specific area of the mixing board, and for what components.

What is the overall effect given the many elements that you get when applying distortion/saturation?


it wasn't specifically directed towards bass, but that's where i found the problem to be most prominent initially and then it related to the overall aspect of my leads, then I saw how those two problems, combined, created a lack of presence for my music as it's being projected through my speakers.

It was a little challenging writing the post because I just woke up.

573
Sound Design / Saturation or distorted signals
« on: February 22, 2016, 03:06:50 pm »
A problem I noticed was that I wasn't quite getting the sounds to punch(not punchy) through and out of my speakers, unless the volume was really loud.

I was speaking to one of my friends the other day who also produces, and asked him about my basses not being "full enough". My ratio to the components in the mix sounded good, but I know that i can do a little more to get some more volume out of it (always been a struggle but now I can handle it properly).

He suggested that i use a saturation unit to bring out some of the more audible content. Also advised to have a low cut.

After experimenting, it seemed to have a very good overall result, and one that puts me where I want to be but, I have yet to dial it in.

I was wondering, after getting a satisfying mix, if by adding a controlled distortion/saturation unit on the buss(return), does that help generate a louder signal in terms of audible frequency?

And what frequency range should that bussed(return) distortion/saturation unit work best in?

Or is bussing(return) should be the technique to be best utilized?

574
Sound Design / Re: Basslines like this? (Electro/Trance)
« on: February 21, 2016, 10:41:03 pm »
You might want to have a wobble with a filter on top of your wobble.

You'd need the LFO for the wobble, then some kind of high cut(not shelf) on an eq or a filter high cut to get that muffled warmth sound.

It reminds me of a P bass with black magic foam being picked.

you can probably add in some analogue distortion, but filter it and bias it towards the top end, so you may need to duplicate or split the signals to achieve this result. or the distortion can be placed before your filter that controls the muffled sound. either way, i think you might need to be splitting signals here. Parallel signal from the main, parallel has the high end distortion, then grouped with the high cut.

575
Mixing/Mastering / Re: Sending stems, i need a lot of help
« on: February 21, 2016, 03:53:59 am »
OK, first take a deep breath. Now, what do you mean dropbox doesn't even work? How big files are we talking about?
its at 397 mb, i feel like theres something i can do to re- render it so its not that big.. anything?

Compress the actual folder like i said with winrar or winzip or any other similar compression programs....

there's no way to get around rendering it, unless you want to give the guy all MP3...

576
PC, plus the information every one has said.

577

Miyamoto Musashi, a Japanese swords man, suggests that you train in unconventional places to gain a better understanding in fighting in poor conditions.

It only makes you stronger if you make music in not the best environment or using the best gear initially, but depending on how serious you want to take this, you'll need to look at things from a different more precise manner. And that coincides with the deliberate practice as well.

Oddly enough, I've read his book of five rings a year ago ahahaha! Forgot about it but it does seem to make sense.

it should make sense, because he spoke of a way of life.

he also mentions how he takes carpentry skills to use with his sword style and philosophy.

it's also considered the business man's bible.

578
Samples/Plugins/Software/Gear / Re: Advice on choosing some monitors
« on: February 20, 2016, 03:18:56 pm »
Dynaudio BM5A MKII or Focals CMS65

Both used ofcourse, but still for that money it blows all the new speakers around $300 out of the water.

That might be jumping the gun in this instance.

Definitely worth it though.

579
Mixing/Mastering / Re: Sending stems, i need a lot of help
« on: February 20, 2016, 03:16:02 pm »
they should have a p2p system where you just drop the file.

another thing you can do is look into a compression program. Winrar is a program i use when i need to compress large files into a more workable data size.

580
He also found something about the environment of these experts. Something along the lines of a poor environment being better than a good environment because it motivated them more to practice to escape their poor environments.


Miyamoto Musashi, a Japanese swords man, suggests that you train in unconventional places to gain a better understanding in fighting in poor conditions.

It only makes you stronger if you make music in not the best environment or using the best gear initially, but depending on how serious you want to take this, you'll need to look at things from a different more precise manner. And that coincides with the deliberate practice as well.

581
Samples/Plugins/Software/Gear / Re: Advice on choosing some monitors
« on: February 20, 2016, 04:45:16 am »
I don't know how is it going with HS7 but in the HS5 mid freqs are conquered a bit. The graphs show that. In this price and even lower you can try M-Audio BX5 D2, because despite its size and price they collect some very good reviews and some people are also surprised with them positevely. I'm most likely to buy them for myself too :)

that's because it's a five inch cone.

I noticed that too when ever i compared the 8's to the 5 and 7.

I specifically bought the 8's so that i won't have to buy a sub. Eventually i maybe plan on buying one, but as it is right now, these 8 inch supply a great reference of bass and it only gets better when they get louder.

582
In the same way, someone who's really talented at the accordion might never in a million years sit down at a computer and pump out a really great EDM song because the necessary skills for each only intersect so much.

lol my brother plays a german diatonic accordion.

You also have to have a desire to sit down and realize this is a skill you want, that's what those young kids have decided for themselves a lot earlier than what you may have. So you're at a disadvantage because you were still poopin your pants while they were poopin in their pants and reading mozart or what ever.

Talent definitely comes from a physical perspective, the manifestation of time spent at a skill, and the ability to adapt to change.

583
I'm not convinced such a thing exists. I don't mean to say I'm convinced it doesn't exist, just that.. how the hell could you be sure? What form would genetic traits for particular strengths take? I assume there's a not a guitar-playing gene, so.. what? A musical ability gene? A gene for particularly acute perception of sound?


When I was discussing that Flow book with a friend he mentioned this story. This inclines me against the notion of talent as a genetic trait. I also remember there being an anecdote in the book about a guy who, after 3-4 years of attending classical performances as a child, suddenly had an epiphany one day and went from loathing them to loving them. How does that happen? How would we have any way of knowing what was going on below the surface for the several years prior to that day?


My hunch - and it is purely a hunch - is that you can't be born with, say, a gift for music, but that a child could easily, without deliberate intention or awareness, develop one or more of the abilities (even in a completely different context) that also happen to contribute to musical proficiency.

it's a bit of both man. you are the creation of what was of the past, you are what you were brought up to be, and you are what you choose to be.

this situation is often a topic of discussion among my friend and i. it draws upon the concept of "metacognition", basically how do we actually learn and utilize what we have learned give different situations. There's a study out there that talks about the differences in problem solving approaches between geometry students and a math teacher who hasn't had geometry in years. The efficiency in failing and reapplying understood techniques to solve the problem.

that aside, i've done some more research on the topic of talent and practice. They are in fact intertwined, and especially at a younger age.

Here's my point; the younger you start something, the more proficient you will be over a life time of repeating that action. You play piano from 3-90, you're gonna be grand master sweg.

Quote
But how does talent develop? Unfortunately, many people have an overly simplistic understanding of talent. They view talent as innate, ready to spring forth given the right conditions. But this is not how talent operates. Gareth Bale wasn't born with the ability to score memorable goals. Talents aren't prepackaged at birth, but take time to develop.

SOURCE

it does in fact exist, but you have to bring out your predisposition of life experience to utilize what you're best at.

i was talking to a professional mechanical engineer over mardi gras break, and he said this

Quote
You may not know what you're good at until some one tells you what you're good at

Basically, it only becomes real when you start to tap into it and begin practicing and working hard.

584
Sound Design / Re: How did you learn sound design?
« on: February 19, 2016, 05:59:41 pm »
Pretty much this. Took me way to long to figure out that basically everything is a series of even and odd harmonics with different phase relationships. SeamlessR made me see the light though. And since saw waves are literally every harmonic in the FFT series that makes them great for subtractive synthesis. After that it's only a matter of learning what every effect sounds like, i.e. frequency shifters(chorus, flanger, phaser), distortion(overdrive, saturation, waveshaping, downsampling), dynamic processors(compressors, limiters, transient shapers), time based stuff like delays and reverbs, and all the other weird effects you can find. Of course there's a lot of obscure stuff like granular synthesis and spectral effects but most of the time you'll be able to hear distinct signs of that going on in a sound.


I think you really hit the nail here. Explained it better than I could. I expected to get trolled at first but you my friend deserve a glass of wine.


not really, once you learn a few things about audio manipulation, and i do mean bouncing your stems, then you can pick up on what is going on.

It took me like years to actually hear what an LFO does, is, and sounds like in application. the summation of the parts is what makes it sound complicated, but the integration process isn't that big of a deal.


Marrow, will you be my Senpai?


I don't understand glitch-hop/dubstep sound design for ass minus the basic wobbles, yais, and growl.


If you have a Skype and would be willing to help me understand how to make this type of stuff you will be mommy af.


https://www.youtube.com/watch?v=Fkwtq2uhbmU 1:37


https://www.youtube.com/watch?v=LYaeoeLHva8 0:34

Yea, but you'll be required to take notes, do home work assignments, and practice. other wise you'll be fired.

585
Sound Design / Re: What is Granulizing?
« on: February 19, 2016, 12:41:55 am »
Do some google search, as far as i can tell and the little bit of research i've done myself, i'd compare it to grains of sand.

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