Quote from: Mat_Zo on January 09, 2016, 06:22:52 pm

What makes me different from all the other people I know in the industry is I don't have any financial, or commercial ambitions, besides being able to do what I love every day, all day, and still afford food and shelter and the occasional bundle of plugins.

I'm not naïve - I know the majority of the artists are doing this for commercial and financial gain - but surely there must be a few producers with as much passion as you?

Quote from: Nogan on January 09, 2016, 04:09:17 pm

Quote from: Nogan on January 08, 2016, 08:35:10 pm

For me it depends on what kind of mood my pad is trying to help fill.
From there decides what the actual midi structure will look like and the tone of the harmonics.

On softer pads I like to use very dark sources w/ maybe +7 semi a little quieter than the root and then make it ring out with some reverb.

Harder pads tend to move a lot more than the dark ones and I will often balance the oscillators with ROOT about on a +7 and a quarter on a +14 semi. Usually the sound stays pretty close to the original oscillator (minimal filtering) but I do like to play with detune and voicing here. I often might add a plate reverb to brighten the sibilance area a smidge and almost certainly always layer pads together for large parts.

For me it isn't always about how incredibly unique a sound is, but rather how well it fits. Sometimes crazy pad design works well, but never doubt the minimalistic choices, too.

To build on this, here is an example of what you can do when layering pad sounds with other things such as chords / organs / foley:
https://instaud.io/fZH

Also this has an example of what paulstretch can do to an audio sample: https://instaud.io/dzj

happy padmaking!

Great sound design. What is a 'foley' though?
Alsom I've tried paulstretch and just feel it's a tough application to use.

Quote from: Mat_Zo on January 08, 2016, 08:25:39 am

Quote from: TeeBee on January 08, 2016, 08:00:03 am

Quote from: Xyroid on January 08, 2016, 06:17:51 am

I don't know how to mix the kick and subbass

What I'm doing is I'm using the sidechain compression method

How about the EQ? from what hz range should the kick be where it doesn't clash with the subbass, or how should the subbass be eq'd

As Mat mentioned,really quick sidechaining , but that isn't always getting good enough results .The best way I find is actually cutting a hole in the element I want ducking and tailoring the volume curve to the curve of the kick/whatever I want prominent for that split second .I also look at a bus with both sources going to that and make sure I manage to keep the volume about the same as when the kick/snare goes by itself to maximise headroom overall .A loud,punchy mix is made on the channels,not the master .-TeeBee

Do you have any tips on getting rid of sidechaining clicks? this is something thats always bugged me

Yo Mat, one really easy way to get rid of the clicks on the sub is to put a low pass after the sidechain and filter out the click only works for sub though since you probably wouldn't want to filter out harmonics of other sounds

Quote from: Mat_Zo on January 07, 2016, 10:04:29 am

KT Granulator was a great free fuckshitup plugin, but I just looked now and it's been updated, and you have to pay for it :/

Yeah. I was about to pay it but then I thought I could check out other granular delays. And if I may suggest, check out Melda's Multiband Granular. Imho absolutely awesome thing.

...probably not my FSU plugin of choice though. Have to second Glitch2, Effectrix and Grossbeat