Quote from: starseekr on January 09, 2016, 07:22:44 pm

This is super cool! Nice Job! I couldn't hear any glaring problems either, so you got that going for you, and I would agree that a vocalist / some vocals could really enhance this. Very nice job!

I never ever ever ever give opinionated reviews. Those comments are completely useless, its like saying "this cat is cool, but I prefer white cats".

The kick just doesn't work with the sounds you've chosen. And you shouldn't be stereo widening your sounds if you have no idea what it does.

I' curious to hear what you think its off about the stereo imaging, sounds perfectly fine to me.

Also, please post your soundcloud so i can check to see if your feedback is legit, which is probs isn't.

Thanks I really think vocals would've fit too, however proper vocalists are really hard to find haha. especially when you're not an established artist ;(

Hey dudes,
I finished this track a few weeks ago. I'd never made anything like this before but I really liked the outcome. Curious to hear what you think

https://soundcloud.com/milesdominic/in-retrospect-free-dl

Personally, I only pan things L/R when I have the same exact channel panned the other direction. If I pan Saw 1 to the Left, I will pan Saw 2 to the right in the same manner.

I use this same "equal panning" technique for toms, one-shots, fx, so forth. Sometimes I will simply pan things both L/R, say 35%, just to create more width in my track and free up room in the dead center.

The same concept I use for individual Oscillators. For example, Sylenth1, Osc A1 and Osc A2; if I detune Osc A1 40% and pan it left, then I detune Osc A2 and pan it right.

Perhaps it's just my OCD for why I choose to equally pan these things, or maybe it is really just inexperience.

Sometimes unequal panning can give unique sounds to your track, so I wouldn't discount it entirely. Personally I just haven't hit that experienced stage in my productions yet.

You know that panning the exact same sound equally left and right does absolutely nothing to the sound stereowise?
The effect we perceive as 'stereo', comes from either a delay in time between L & R channel or a difference in frequency-content betwen L & R. Panning the same sound left and right equally, without changing anything to the time or frequency content won't make the sound more (or less) stereo.

That was porter's lead sound, and I can't remember exactly what was done, but you can make it in pretty much any synth. A saw and pulse/square wave together plus a bit of chorus and vibrato and a LP filter envelope with a slow decay. The processing was pretty simple too I think, just a bit of reverb under some multiband compression and maximizing with maybe a touch of bitcrushing.

Hey Mat, thanks for answering. I'm curious to know what multiband compressing a lead exactly does. Do you accentuate the frequency ranges that are compressed more as apposed to non or less compressed areas (if the make-up gain is the same as the amount reduced)?

I feel like people are overcomplicating making and layering saws a lot.
What I do is layer 3-4 sylenth patches with all variaties off undetune saws and detunede saws and perhaps, 1 oscillator of a retrig saw. I apply some saturation to the invidual layers, maybe Maserati. Then a lowcut between 200-350 hz depending on the rest of the track. Then route to a bus, add delay, reverb and maybe sausage fattener. Then I take out the highs above 10k with a 6-12 db slope and replace it with whitenoise.

It works super well for gluing stuff together, but as mentioned before. Probs best to take out the lows, the highs and probably around 400-600 and 3-4k for muddiness reasons.