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Topics - Erik_S

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WIPs / Above and Beyond [You Got To Go] Remix WIP
« on: May 24, 2018, 03:09:06 am »
Hey all, this is my first WIP I'm posting.  I have a guest mix on a podcast coming up and I wanted to include some new production.  So here's this thing I'm working on.  I have basically arranged things but I've yet to mix and add effects to vocals.  I also haven't added any risers and still need some splashes, so I know those are missing ;).  I'd love feedback on favorite and least favorite parts.  Ideas on how to make the main synth chorus drops more interesting without making them too muddy.  Any spots that could use more elements?  Any spots that should be leaner and allowed to breath? Thanks ALL!
https://soundcloud.com/toyboattoyboat/you-got-to-go-toy-boat-remix-wip/s-EfnGf

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Sound Design / Making Trills using Sample String Instruments
« on: April 13, 2018, 07:20:21 pm »
Hey all,
I've been working with NI Session Strings and a few other sample libraries and I've been unsuccessful in creating a good trill sound.  I'm using kontakt right now, and I have been able to program nice vibrato sound using LFO, but I want to get something that sounds like the trill in this video.

 https://www.youtube.com/watch?v=w6ZTZete3dI 

You can also hear something similar at 1:25 in Andrew Bayer's track "Closing Act" https://www.youtube.com/watch?v=B9gkC1EhYjc
I also want to be able to control the speed of the trill so it can start slow and go faster for instance.  This is often heard in somber strings parts on songs.

I've tried switching the LFO to a rectangle, but it sounds super digital and I haven't figured out a way to make it more organic sounding.

I guess I could just play different notes on the piano roll, but It'd be cool to program it.

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You Might Like... / Looking for Labels
« on: April 09, 2018, 07:40:45 pm »
Hey all,
As a producer I've started getting to the level that I actually think my stuff is worth hearing sometimes, but I'm not sure what labels to go towards.  I want to start listening and supporting smaller labels too and I think the two goals go hand in hand.  So, in the deep house, melodic trance, melodic bass world: What smaller labels to you like that are similar to say... AnjunaDeep for instance.

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Suggestions / A discussion area for music arts philosophy
« on: June 11, 2016, 05:21:30 pm »
After reading Mat Zo's (and countless other's) grumblings about the EDM scene and its pitfalls, I wonder if we could help ourselves by talking about what we can do to change our culture. The existence of this forum is a great start, but can we drive a conversation about our identity in the bigger picture of pulling EDM away from this gross corporate candy feeling?  I'd love to hear solutions from other producers. I think one thing I've noticed is lots of club promoters and bookers focus on FB follows more than unique and interesting talent. Some have started to figure out the error of that plan, but how do we find that line between trying to make a living in our work, and trying to be unreasonably famous?  One is more mature than the other.

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Like many of you, I don't just produce, but also dj.  In finding new music recently I came across a Drum&Bass remix I really love EXCEPT for the fact that there's a drum machine/bitcrushed snare that has waaaaaaaay too much presence in the mix.  I tried to eq it down in the mix (the harshest tone is right around the 10Khtz) but I run into issues of the mix getting too muffled like it has a Low Pass on it, or the snare is still too much.  I've also tried a sidchained compression to that frequency, but I might not know enough about compression to make it work right.  I also tried automating a duck in that frequency on the snare hits, but that didn't seem to take the snare out enough.  My question is, what have you done to prepare tracks with similar problems for your sets.  Is it ethical to take someone's song and remaster it for your own tastes?

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Sound Design / Risers in Massive or other analog Synth.
« on: April 13, 2016, 12:35:19 am »
I've been having a lot of fun with massive and making different risers/builds to layer into tracks.  I have wondered if there's a best way to make the rise take longer periods of time (16 or 32 bars) Using the ADSR attached to the pitch and gain in Massive really only works for an 8 bar rise, unless I bounce the audio and time stretch it, or play a long succession of notes going up the keyboard bit by bit, but that seems to produced a stepping rise instead of a clean slope.

Thoughts?

What other NI or Logic synths do you like to build risers with? 

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R&A Graveyard / CHALLENGES: We should have them!
« on: January 11, 2016, 06:01:19 am »
Something I love doing is taking on challenges from friends or from my own musings while walking the dog. For instance: taking my shittiest strings sample based plugin and try to process them to sound as realistic as possible.  Or take a synth plugin I've never used before, strip it down to basics and then twist knobs till I have something I like and base a track off of the new sound I created (a great way to learn how that synth works!). Write a song in a different genre than I've ever considered. Force myself to use a BPM that is waaaaaay slower than I usually do.  The list goes on!  Maybe there would be challenge threads specific to each sub forum?

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