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Messages - FarleyCZ

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316
Samples/Plugins/Software/Gear / Re: Antivirus
« on: February 09, 2016, 12:12:17 am »
If there is any advantage of Apple's obsession with closed systems, it's the relative safety it adds. Macs have a long history of being tough to hack. ...with Apple even making a competitions for hackers and giving insane prices for those who find some weak spot. I've heard sotries about guy recieving new iPhone and a bloody Nissan 350z for revealing how he made jailbreaks possible on first iPhone.

I'm not sure how is this reputation valid today, I'm whole life on PC, but as Bertie said: Avoid dangerous corners of the interwebz, pay attention to everything you run or install, ignore suspicious mails and you'll be just fine.  8)

... but on PC I use old trusty Avast. It has a Mac version, if you want to try. :)

317
Inspiration/Creativity/Motivation / Re: (How) do you divide your time between sound design and composition?
« on: February 08, 2016, 11:59:23 pm »
Quote from: Bertie South on February 08, 2016, 11:52:41 pm
Is it common for people work on sound design completely independent of writing tunes?
Probably, though I find it kind of impossible. Probably another bad habit, dunno.

318
Sound Design / Re: Bass leads
« on: February 08, 2016, 11:55:04 pm »
Quote from: Marrow Machines on February 08, 2016, 11:44:32 pm
Quote from: FarleyCZ on February 08, 2016, 05:53:04 pm
Quote from: Marrow Machines on February 08, 2016, 05:07:48 pm
I recommend using some busses, and multiple layers to create the total effect you want for the instance of the bass.
...which is pretty much what I said in that comment you wouldn't suggest. :)

no, you suggested frequency splitting and duplicating one signal, not creating new layers.

unless you mean something different and it didn't come across that well.

But, the idea of what you said is correct, i just don't know if the implementation was correct, even though you may have the idea in your mind.

it's like having a sub bass layer, with a mid bass layer, and a high bass layer. Rather than having one bass layer that's split between the frequency that i've described (i've done it this way and it never got me any where close to what i wanted).

*edit* the only part that you did say that you add a layer is in the "lead spectrum", the rest i took it as "just duplicate what you already have and filter".
and to my experience, you can get a much cleaner sound by creating new layers and having them fit, than just duplicating and splitting frequencies.

the differences in tone and timbre is what comes across as having a big huge layer, with many things to listen to at once.

also it's good to have some automation when making your big bass business.

*DOUBLE EDIT* my initial post was rought with assumption and didn't penetrate the truth. These posts are good advice, but still doesn't address the stereo side of things. I think the break down was that, you might need to have a filtered sound in a specific range, that isn't apart of the original idea. Like my gripe with duplication, which may work but with variables added to where it's not a duplication, you'll need to make it different sounding and still have it fit with in the context you're looking for.
You're right. I didn't explain what I ment properly. I'm sorry.

What I ment was another layer consisting of different sound active in part of the spectrum, where usually some kind of lead would be. It also helps to treat this layer almost like a lead. So reverb, delay, all the different effects you'd make your lead bigger by.

319
Inspiration/Creativity/Motivation / Re: (How) do you divide your time between sound design and composition?
« on: February 08, 2016, 11:39:16 pm »
Mix of both. Usually pretty separate until the point when I need the sounds to work together in some way. That's when I start to sound-design as I go.
...also sometimes while sound-designing, melody comes up that works just with that given sound. If I feel it's worth the attention, I go to composition or "mixed" mode again.

320
R&A Graveyard / Re: Record Label / Promotion Section
« on: February 08, 2016, 10:39:40 pm »
Quote from: Mat_Zo on January 08, 2016, 09:08:52 am
Yeh we want to keep that kind of thing well separate from the art of making music. That's actually why I wanted to start this forum in the first place
Understandable. :)

...but also sad, because now I have nowhere to write my rant about fake and bought SC followers. :D

321
You Might Like... / Re: What Producers Do You Want to See Collaborate?
« on: February 08, 2016, 09:51:24 pm »
Hmmm.

Deadmau5 & Hans Zimmer (Both of them have BAD ASS modular synths, who knows what would have come out of that.)
KOAN Sound & Ramesses B (Not really a reason for it. Love them all, guess some kind of guilty pleasure would come out of it.)
Calyx & Teebee & Etherwood (Both totally different sides of dnb. I'd love to see some contrasty combination.)
tyDi & Wish I Was ( ;D 8) )
Pegboard Nerds & Noisia (Just for the hell of it. :D)
ZHU & Filous ... etc. :D

322
Samples/Plugins/Software/Gear / Re: how do you get your kicks?
« on: February 08, 2016, 07:23:44 pm »
I'm thinking so hard to come up with shoe store joke on this topic. None comming. Sad. :D

...but I like that old X-fer pack. :)

323
Mixing/Mastering / Re: question regarding compression
« on: February 08, 2016, 07:17:47 pm »
Quote from: Miles Dominic on February 08, 2016, 06:54:08 pm
Quote from: FarleyCZ on February 08, 2016, 12:03:18 pm
Yeah, it really depends on usecase you think about. If you speak about compession effecting something like an electronic kickdrum then yeah, you can draw automation instead of it. (When speaking about clean non-saturating compressors) ... but the advantage of compressor is that on stuff with "unpredictable" and/or quick transients (real drums, vocals, pianos, synths with a lot of modulation etc...) it will do the trick for you automatically.

So theoretically you could draw "compression-like" automation over a master channel or finished track, but it would take you weeks or months to do it. Compressor will do that for you instantly.
i don't think that holds true, because a compressor affects only the part of the signal above the treshold. Volume automation will change the volume of everything playing at that time, thus having a different effect.
Nope. You've essentially described waveshaping. If it was "bending" the signal as you say, you'd hear pretty nasty harmonics being added to the signal.

But as Axis said, then you have "character" compressors with saturation curves. Those add a tiny bit of harmonics. Those you can't replace by automation. But clean compressor you theoretically can.

324
Finished Tracks / Re: Siarate - Just a moment from now // Ambient
« on: February 08, 2016, 06:47:49 pm »
It's beautiful! ...sounds KOAN Sound-ish, which is a good thing. Very very good thing. Make more. Please. :)

325
Finished Tracks / Re: Mat Zo - Soul Food
« on: February 08, 2016, 06:42:04 pm »
Oh man, that is awesome. You can't not move at least a little bit listening to this. So funky. :)

326
Finished Tracks / Re: Tim White - One remix
« on: February 08, 2016, 06:38:14 pm »
I love it. :)

327
Samples/Plugins/Software/Gear / Re: How can I reinstall Ableton and keep all old plugins?
« on: February 08, 2016, 06:20:49 pm »
The question is whether you mean just plugins, or not. If you're worried about VST plugins, then do what outofplastic said. If you also mean rack presets, Ableton instruments presets and stuff like this, you'll probably want to backup Ableton's library folder too. ยด

...aslo, dunno why you need to re-install, but there's this little neat trick that cures a lot of trouble with Ableton.
Go to C://Users/(your account's name)/AppData/Roaming/Ableton/(Live version you use at the moment)/Preferences
In that folder, find file "Preferences.cfg" and delete it (or for backup reasons just move it out of that folder). It stores your Ableton's settings. If it ain't there, Ableton notices it and creates fresh new one with totally initialized settings. Try that, it might cure whatever you're solving.

328
Inspiration/Creativity/Motivation / Re: Your opinion for a coworker just starting out
« on: February 08, 2016, 06:00:25 pm »
Quote from: birdwork on February 07, 2016, 05:47:38 am
Haha, can I still laugh to myself when he's "mastered" compression shortly after discovering it? (He likes to pretend he's an expert.)
Oh sure. Lough out loud. He's gotta discover he didn't master the compression, so why not have a bit fun with it? Totally justifiable if he tries to be a smarta**. :D
EDIT: ...unless he actually did master compression. Then he'd be a little genius. :)

329
Sound Design / Re: Bass leads
« on: February 08, 2016, 05:53:04 pm »
Quote from: Marrow Machines on February 08, 2016, 05:07:48 pm
I recommend using some busses, and multiple layers to create the total effect you want for the instance of the bass.
...which is pretty much what I said in that comment you wouldn't suggest. :)

330
Sound Design / Re: Bass leads
« on: February 08, 2016, 04:03:19 pm »
I don't do them too often, but when I do, I like to do two "versions" of the bass. One filtered and quite low-passed for parts where other stuff is in. When the "drop" comes, I add another bass layer active in the lead-ish part of the spectrum. That creates the second, much bigger version of the bass line.

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