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Messages - sleepy

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46
Sound Design / The Sound Design Symposium! 2016
« on: January 07, 2016, 09:27:51 pm »
Hi!

So every forum that deals with production generally has it's own dedicated "Official Growl Bass Thread!" or "Post Your Bass Sounds Here!" thread, and recently we got one here too. And though it's definitely fun to share cool sounds and get praised for it, it's not really useful nor practical. Oftentimes a user posts their sound, waits for feedback, then leaves. In the best of cases, users post a sound and explain how they arrived at it, which is good. In either case, after enough time has passed, the user either deletes the sound off of wherever they posted it, the link to the file expires, or something along those lines. What you're left with is several pages of people talking about sounds that don't even exist anymore. This kind of stuff isn't really helpful.

To solve this problem, I was thinking that we should have a thread (this one) where we all post cool sounds to the same place, and explain how the sounds were made in an organized, standard format. Every post that links to a sound should have the following:

-Type of Sound (Bass, Pad, etc)
-Plugins used, preferably in order, and any re-sampling steps.
-Explanation of the processing behind the sound

So, for example, if someone were to post a growl bass they made in Sytrus and resampled twice, it'd go something like this:

"Growl Bass using Sytrus
Processing:
-Fruity Waveshaper > WOW2
-Resampled
-Fruity Parametric EQ 2 > WOW2 > Fruity Waveshaper > Maximus
-Resampled
-Loaded into Harmor > Maximus"

Then the person posting would detail the process, and, if they know enough about it, talk about where certain qualities of the sound come from. For example, how the sound gets it's vocal formant character from it being made using FM and the types of filter provided in WOW2, or where certain movement in the sound comes from. Obviously not every post needs to have this, just the ones sharing sounds. Feel free to discuss the sounds beyond the original post.

At the end of the year we'd compile all of the sounds and explanations into one big folder, organized by sound type, and share it so people could learn better.

Just an idea, this could be either really good or just not happen at all, but I think it'd be a refreshing change from the dead links found in a lot of other popular forums.

Clyp.it is a newish website for sharing sounds. Upload amount is unlimited and you could make your sounds private, so I think it would be ideal for this kind of thing. I wouldn't use SoundCloud because it has a limit to how much you could upload. Make sure the sound is downloadable! Patches and project files are optional, I'd much prefer to hear the process behind something and working it out on my own than having something handed to me.

47
Mixing/Mastering / Elements of Mastering?
« on: January 07, 2016, 01:56:39 am »
So Mat says that mastering isn't just throwing a couple of effects on the master channel. Now I'm asking, why not?  If mastering is just the final step in the process of getting a track to sound club/radio ready by processing a render of that track, why can't that just be done in the master bus of that track's project file?

I want to know what makes mastering an entire process in itself and not just slapping Maximus on the master bus. I still maintain that I could get something sounding nice and loud by just loading effects onto the master, but what would those effects be? What are things to take into consideration? What are the steps in what would be a considered a professional mastering job?

48
Samples/Plugins/Software/Gear / Re: 32bit vs. 64bit
« on: January 06, 2016, 08:45:58 pm »
No one's mentioned that, unless you have more than 4GB of RAM available, it doesn't matter if you have 64 bit programs. You'd still be limited to the same amount of memory you'd have if you were using 32 bit programs.

You'd probably be better off learning from the people who actually make the software though.

If you're on Ableton, here you go:
https://www.ableton.com/en/help/article/64bit-myths-facts/

If you're on FL Studio, which treats this issue a bit differently, here you go:
https://support.image-line.com/knowledgebase/base.php?id=34&ans=415

Logic:
https://support.apple.com/en-us/HT202016

Whatever else:
http://www.google.com/

I had issues with this recently and the FL and Ableton links are what helped me understand. Might help even if you're not using either of those DAWs. Something relevant to me that might help others who can't be bothered to upgrade to FL 11, 12, etc: FL 10 and lower doesn't have a 64 bit version, but it does come with "FL (extended memory)" or something in the image-line folder that might help with some CPU issues you might have. It worked for me when FL couldn't handle one of my projects.

Hope this helps!

49
Composition/Arrangement/Theory / Re: Finishing and Moving On
« on: January 06, 2016, 07:23:11 pm »
Here are a couple of things to keep in mind:

- It's way easier to revise than it is to create from scratch.
If you get an idea and are feeling motivated, run with it. If you stop to work on any one section too much, there's a chance you'll lose track of the bigger picture then struggle to come up with other sections. Get a rough outline of what you have in your head, then go back and flesh it out later. If you have any ideas along the way for other things, write them down so you don't forget. If you're in the "arrange/compose" mentality, you should compose and arrange. If you switch to sound design or mixing, it'll be much harder to get back on the composition train. Kinda like how you could concentrate on studies and homework for a while, then check Facebook for two seconds, and then just not want to even look at your homework anymore. Think Newton's First Law of Motion :P

-Not all aspects of production are equally enjoyable, but all are required for a quality production.
As producers we bear the burden of ALL aspects of a musical product (well, us with integrity anyway). Mixing, for example, is often not going to be as enjoyable as composition or even sound design, but you have to follow through. If you leave a track half finished without mixing, you've only improved in whatever you worked on in the track. You'll make no progress in mixing. Focus on various aspects individually, but make sure at the end of the day you're as well rounded as you can be.

-Same applies to sections in a song.
The breakdown or outro might not be as exciting to work on as the drop or chorus of your track, but they're still important. A great track isn't just a great chorus (though you could get away with that), it's a great intro, breakdown, buildup, etc. If you leave a track 3/4 done you'll miss out on making progress in whatever you left out.

These are just some general tips I like to follow, obviously not universal rules that you NEED to follow. They've worked out for me, and they make sense, so I share. Hope this helped :)

50
Sound Design / Re: Porter Robinson, Madeon Bass
« on: January 06, 2016, 03:50:48 pm »
I'm gonna say it again... very little to no distortion. This includes waveshapers, ohmicide, etc. Think about other ways to get something sounding big. Another tip, a lot of his later heavy electro basses had a uniform sound and didn't have a whole lot of movement going on in terms of harmonics, but the timbre of the sounds was definitely far from that of a saw wave.

51
Sound Design / Re: Porter Robinson, Madeon Bass
« on: January 06, 2016, 07:01:50 am »
No, sorry. Shouldn't be too hard though, knowing what I said. Just mess around, sylenth is a pretty straightforward synth.

52
Sound Design / Re: Porter Robinson, Madeon Bass
« on: January 06, 2016, 05:44:44 am »
Not too sure about madeon, but I can guarantee Porter's older basses didn't use a whole lot of (if any) distortion. All sounds in Say My Name were made in Sylenth1, and Porter started heavily using Massive after that. The good ol' days  :'(

53
Sound Design / Re: Resynthesis techniques
« on: January 06, 2016, 05:39:20 am »
The song you made with it sounds crazy, thanks for the tip!

edit: following. I've listened like 10 times lmao.

54
Sound Design / Re: resampling
« on: January 06, 2016, 05:17:45 am »
I have a question for Sakuraburst that's relevant I guess: how did you go about getting that neuro-y bass sound on Serotonin? I know you chopped it up and stuff to get the stuttery parts, but how much of the character of the sound came from resampling?

I guess something that's cool is throwing sounds bounced from 3rd party synths into harmor to then be able to use the slide notes on FL Studio's piano roll, which you can't do regularly for those types of synths  ;D

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