Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - Kenny Troy

Pages: 1 [2] 3 4 ... 10
16
Composition/Arrangement/Theory / Re: What do your chord progressions look like - Genre / Image
« on: April 23, 2016, 09:22:20 am »
F# minor scale. Festival/ electro house. Removed the top melody (sorry :P)



Question:

I wrote this in F# minor, but two times within the four bar melody I used F5 (rather than F#5) on the top line melody which technically doesn't belong in F# minor chord progressions.

I honestly believe it sounds better with F5 rather than F#5 for the two specific notes even though it is out of key.

The chords are:
F5        F5
A#4      F#4
D#4      D#4
              B

ANSWER: F# minor's harmonic minor raises the E to E# -> F?





17
Composition/Arrangement/Theory / Re: What style of music do you guys feel will be the next trend?
« on: April 11, 2016, 02:43:53 am »
As much as "big room all sounds the same" (although though I disagree), I think future house is in the same situation in terms of composition and sound design, if not worse

18
Mixing/Mastering / Re: Tutorial for Beginners
« on: March 31, 2016, 04:16:37 pm »
Quote from: danieltorres on March 31, 2016, 03:15:30 pm
I saw this tutorial series in a post but I believe every beginner should watch this. Don't skip any videos and make sure you pay attention.

https://www.youtube.com/playlist?list=PL8hp7Ohapfw35BHsO0LO5FnCUtrpQDRiF

Worth watching the entire 120 videos, I promise.
Definitely worth watching. There is so much out there to learn, even if you have a good fundamental understanding of mixing there will always be techniques or tips that you can discover and test out in your mix.

Check out some of these other tutorials that offer really great advice and production techniques:

ADSR Courses https://www.youtube.com/channel/UCf5UKh_cj2_5pUomhyswWYQ
SeamlessR https://www.youtube.com/channel/UC2mgCVJWitRUTIpgd7pLung
The Pro Audio Files https://www.youtube.com/channel/UCVdU3CMnJ-edC4FeCXK4b3Q

19
Mixing/Mastering / Re: KICK EQ HELP (PICTURE INCLUDED)
« on: March 29, 2016, 03:27:28 am »
Quote from: djdillyc on March 29, 2016, 01:42:25 am
here is the song so far: https://soundcloud.com/diglet95/vocloid-preview

Invalid link

20
Samples/Plugins/Software/Gear / Black Octopus Review: Leviathan vs Ultimate Bangers
« on: March 26, 2016, 05:04:02 pm »
Hey guys, I'm looking for some opinions, reviews and advice regarding two of Black Octopus' sample packs that I'm looking to get

Leviathan
Ultimate Bangers & Anthems

Have you purchased either of these sample packs yourself? What do you think of them? Prefer one over the other?

Have you heard about or read reviews from friends who have used these packs?

Thanks

21
Mixing/Mastering / Re: Sidechain Compression "Mathematics"
« on: March 10, 2016, 04:31:00 pm »
Quote from: Ferio on March 10, 2016, 02:59:32 pm
Layer a separated pluck on the bass /done

Quote from: Miles Dominic on March 10, 2016, 04:21:37 pm
Split your bass in a seperate sub and a plucky mid bass. Sidechain the sub super hard but sidechain tje pluck bass less to retain the texture. Ez :D

Thanks guys, gonna try this out later tonight

22
Mixing/Mastering / Re: Sidechain Compression "Mathematics"
« on: March 10, 2016, 06:49:16 am »
Quote from: Miles Dominic on March 10, 2016, 06:43:53 am
Quote from: Kenny Troy on March 10, 2016, 06:18:13 am
Quote from: Miles Dominic on March 10, 2016, 06:11:56 am
Just try and use your ears. I always put a 150/200 hz lowpass on my master while mixing the kick and bass and trying to get the sidechain's release perfect. Also for sidechaining to the kick, I always have an attack time of 0 seconds and the ratio is at the max ratio. (30:1 or something). Then I mess around with the threshold and the release.

So far I've been playing it by ear to hear when exactly my kick gets muffled by the bass being released, anywhere from like 4.11ms to 6ish is the closest I can really come give or take like 1.5ms in either direction.

My ratio is set at 5:1 right now, attack of course at 0, and I've kept the release at 4.85ms.

It definitely sounds decent so I can't complain, just looking for some possible math that may help make it even better

I think 4.85 ms is way to short. There's no kick that short lol. My 'average' release settings are between like 30 ms (for stuff like arps and high melodies) to like 50-70 for things like chords/mid-basses and up to 90 to 100 ms for sub-basses. I'm not saying you should copy that, but probably best to take a longer release time.

Also, maths wont help you in this situation man. Its all about hearing how your bass and kick (and other instruments) sit best together.

Yeah you're definitely right here. I changed the release to 30ms and it sounds better, but the only thing that was lost is a very quick pluck sound on the bass which I was trying to avoid losing (why I was messing w/ <10ms release). Then again that's probably unlikely to be possible with sidechaining

I'll probably play around with this for a while longer lol. Thanks again

23
Mixing/Mastering / Re: Sidechain Compression "Mathematics"
« on: March 10, 2016, 06:18:13 am »
Quote from: Miles Dominic on March 10, 2016, 06:11:56 am
Just try and use your ears. I always put a 150/200 hz lowpass on my master while mixing the kick and bass and trying to get the sidechain's release perfect. Also for sidechaining to the kick, I always have an attack time of 0 seconds and the ratio is at the max ratio. (30:1 or something). Then I mess around with the threshold and the release.

So far I've been playing it by ear to hear when exactly my kick gets muffled by the bass being released, anywhere from like 4.11ms to 6ish is the closest I can really come give or take like 1.5ms in either direction.

My ratio is set at 5:1 right now, attack of course at 0, and I've kept the release at 4.85ms.

It definitely sounds decent so I can't complain, just looking for some possible math that may help make it even better


24
Mixing/Mastering / Sidechain Compression "Mathematics"
« on: March 10, 2016, 05:05:57 am »
Maybe you guys could help me out here..

I'm trying to find the "math" behind sidechain-compression for best ratio and release values on my kick/bass. I understand I could do it by ear and see what sounds the best, but I'm wondering if there's a mathematical way to determine what values to use. Maybe there isn't one, but there is a lot of science and math involved in music after all.

Essentially what I am trying to achieve is having the release time on the limiter parallel that of the decay time on my kick so the bass is at max volume as soon as the kick is fully decayed.

I suppose I would first want to determine the decay time of my kick - I've searched many forums and can't really find an answer to this. Does anyone know how to find the decay time in ms? Edison?


25
Mixing/Mastering / Re: So lost on Phasing... HELP
« on: March 08, 2016, 09:05:09 pm »
There are really two things people mean when they say Phase: Polarity or Timing Difference.

Below I have screenshots of two kicks (they're from two different sample packs, but these two sample packs literally copied each other's samples so they're exactly the same... shame)



Notice the waveform of the two kicks. The top kick has a peak in the waveform when the bottom kick has a dip. This is a polarity difference. Since these two kicks are identical, they will cancel out when played and there will be no sound at all.

Now if you click your sample and find the 'reverse polarity' button you will notice the polarity is literally flipped. See below, I flipped the polarity of the top kick.



Now let's take a practical example from within your track. Below are two kicks I have layered on a track, before making any adjustments to them (even though they're in the key of F and F# let's ignore that's for now)



Focus on the second half of the kick, notice how the waveforms are opposite of each other? Although you could leave this as is, let's try reversing the polarity.



Again take a look at the second half of the kicks. They are now closer in polarity than before we reversed one of the kicks (note: do not reverse both samples, it will not have any effect).

When I reversed the polarity what happened was the kicks created a cleaner 'thump' sound and overall produced a much higher quality kick combination.

Read more about phase here:
https://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm
http://theproaudiofiles.com/phase/

26
Mixing/Mastering / Re: EQ attached to notes?
« on: March 04, 2016, 07:35:58 pm »
Thanks to everyone who put suggestions up greatly appreciate it

When I'm home from work I'll test them out and provide feedback

27
Inspiration/Creativity/Motivation / Re: Inspirational Fluxes
« on: February 29, 2016, 10:38:26 pm »
Have you tried switching your primary sound driver to ASIO4ALL?

Try keeping your laptop plugged in too, and close out all open plugins, synths, so forth (better yet, change the un-plugged minimum processor speed under power management options to 100% rather than whatever the default may be)

28
Mixing/Mastering / Re: EQ attached to notes?
« on: February 29, 2016, 07:24:35 am »
Some ideas I've tried -

I've been looking for the specific band I wanted to cut as it changes notes and found a rough estimate of where they hit. Went equidistant from the range of the each frequencies and tried to cut as close as possible to only those frequencies.

Add another Parametric EQ2 w/ small cut on the second note frequency and automate it to turn on/off when those notes are played?

Kinda worked

29
Mixing/Mastering / EQ attached to notes?
« on: February 29, 2016, 06:13:11 am »
I was EQing a melody I wrote and noticed a specific frequency I wanted to cut out within the synth. When I make the EQ cut it sounds better, however as my melody is played the specific frequency I want to remove changes with each different note.

I'm fine with leaving the cut where it is because it does improve the quality, but if being extra picky helps my music then so be it

Anyone have suggestions or a solution to fixing this?

FYI: The frequency I'm removing on the root note is 724hZ as done below (except not as drastic of a dB cut)



30
Sound Design / Re: presets vs sound design
« on: February 29, 2016, 12:23:00 am »
I don't really see anything wrong with presents, especially when we're speaking about amateur production. They are there for a reason, and are certainly an excellent blueprint. But...

It is very amateur. Similar to samples, professionals process them to their desired sound. I don't really think any professional is going to use a preset as is (if they're even going to use them at all).

No doubt presets helped me to create my first dozen tracks or so, but after a while your experience reaches a level where you know and have the ability to adjust specific parameters or sounds within that preset to get what you really want.

In my opinion sound design is not something amateur producers should focus on (doesn't mean you can't), but I feel like a lot of sound design comes later down the path of music production once you find your personal style.

Recently I was creating a track where I came to a huge road block, because I couldn't get the right sound to finish the introduction of a track. Turns out, sound design was the answer. I re-watched all the masterclasses and multiple sound design videos and was able to tweak what I needed to get what I wanted.

Pages: 1 [2] 3 4 ... 10