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Beef, I've mixed your stuff with recent-ish commercial tracks and they line up just fine volume-wise. Maybe Traktor is getting fooled by something about your tracks that doesn't have to do with perceived volume. Do you notice a volume drop while listening and have to turn yours up, or is it just a graphical thing you noticed. If it's the latter, I wouldn't worry about it, because your stuff is awesome. I've been a fan since Sweaty Vedder. Edit: Looks like it's not just a graphical thing. Could it be an issue with Traktor changing the way your stuff is read? I'm working off of CDs and the levels are fine (compared to tracks from Madeon and Porter Robinson). If you play them on a non-DJ system, like computer speakers, does it seem low volume? Definitely something to look into, as if other people are going to be playing your stuff using Traktor you don't want this happening. The Mystery Date fucked around with this message at 06:33 on Mar 21, 2013 |
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Mar 21, 2013 06:28
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breaks posted:He already knows and does that stuff, have a listen to his tracks. Sorry I guess that sounds a little snappy, not trying to be a dick! Just saying he is definitely already doing a decent job in that regard. ya I was just trying to confirm his suspicion really. I loaded his Sweaty Vedder track in Ozone's fancy computer virus interface and looked at a lot of the metering options and that one was quieter than I remembered. But that's an old track, his more recent remixes seemed closer to normal. So he's doing a better job, but there's a little more loudness he can squeeze out of it still. I think he got the answer way earlier in the thread, about the peak to RMS crest factor... Peter North fucked around with this message at 09:20 on Mar 21, 2013 |
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Mar 21, 2013 09:10
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Flipperwaldt posted:Haha, I remember that standalone version from the days when Cubase was midi only. And when I was messing around with FL Studio in 2004 or something, I dismissed the plugin version right away, because it wasn't pretty enough My friend uses FL because it looks cool. He says all the other DAWs look too much like spreadsheet programs and he doesn't want to spend a bunch of time of his life in a grey-rear end program. I guess I can't blame him.
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Mar 21, 2013 12:25
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New music! http://soundcloud.com/wayfu/wayfinder-pro-play-2013
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Mar 21, 2013 13:38
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Managed to fix most of my EQ/Mastering issues on the track I posted, though I haven't uploaded it as I'm at work. Still, compositional critiques would be cool.
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Mar 21, 2013 13:54
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I made this today instead of buying food to eat. https://soundcloud.com/colugo/pamper-your-alpaca
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Mar 24, 2013 23:06
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So, I've usually done the bulk of my synths tweaking presets and makin a couple simple synths in Blue, which I do love, but it can be hard to get more... real? sounds from it. I do like the interface and everything, but what would you recommend for someone like me? I use Massive occasionally but I have much less control with it and it doesn't always play nice with FL for me.
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Mar 25, 2013 03:04
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I've been working on some weird glitch thing recently and I'm wondering if I've added too many layers into the thing. Here's a couple of excerpts to compare. https://soundcloud.com/sefiros/section https://soundcloud.com/sefiros/section-two
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Mar 25, 2013 03:56
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You wouldn't happen to be Sefiros from VGMix/OCremix would you?
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Mar 25, 2013 11:20
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haakman posted:You wouldn't happen to be Sefiros from VGMix/OCremix would you? I am that one, yes.
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Mar 25, 2013 11:49
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Hello, Ellywu2 here. Small world.
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Mar 25, 2013 12:01
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First completed track for a while. https://soundcloud.com/careyb/bill-carey-wonderland my arrangement is now finished in a couple of days instead of a couple weeks after rejigging my workflow a fair bit. Got fed up of pulling my hair out at some point in every project. This is a dark (but not too dark) techno trance track I started last Friday. On Tuesday I'll be giving it a final tighten up, so any feedbacks to take with me would be great. Cheers!
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Mar 25, 2013 12:32
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colonp fucked around with this message at 18:17 on Mar 8, 2014 |
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Mar 25, 2013 12:35
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CareyB posted:First completed track for a while. https://soundcloud.com/careyb/bill-carey-wonderland Hey man, I like the synths and the various build ups and effects you have going on here. I do feel like the drums are missing a bit of groove/pump. Maybe try experimenting with a bit of sidechaining or parallel compression and add a bit of swing. Just a though, nice track though.
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Mar 25, 2013 16:18
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All Else Failed posted:So, I've usually done the bulk of my synths tweaking presets and makin a couple simple synths in Blue, which I do love, but it can be hard to get more... real? sounds from it. I do like the interface and everything, but what would you recommend for someone like me? I use Massive occasionally but I have much less control with it and it doesn't always play nice with FL for me. I think you need to define 'real' before anyone can give you an answer. Also -not that I'll be able to help you with it- but I'm curious what you mean by Massive not playing nice with FL.
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Mar 25, 2013 23:57
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Does anyone have any idea how to make a psytrance squelch? All the rundowns on how to do it use obscure VSTs that cost like 90 bucks. 
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Mar 26, 2013 03:20
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WAFFLEHOUND posted:Does anyone have any idea how to make a psytrance squelch? All the rundowns on how to do it use obscure VSTs that cost like 90 bucks. Isn't it originally just a 303, or did you have some more kind of specific sound in mind?
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Mar 26, 2013 03:25
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HTML5 posted:Isn't it originally just a 303, or did you have some more kind of specific sound in mind? gently caress, that's seriously a 303? Is it just distorted with the res up and the filter down? Must. Get. 303. Back. From. Repair. Shop. 
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Mar 26, 2013 03:34
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WAFFLEHOUND posted:gently caress, that's seriously a 303? Is it just distorted with the res up and the filter down? I think there's a bunch of ways to get the core psytrance sound, but I mainly think it's a lot of really resonant subtractive synths and filter envelopes to get that wet, sharp sound. Pretty sure like old Juno Reactor and stuff like that utilizes a lot of 303. I'm sure distortion and saturation could get involved but without an example I'm stabbing in the dark. Maybe try screwing around with some 303-like plugins and see if you can approach what you're looking for
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Mar 26, 2013 06:49
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WAFFLEHOUND posted:gently caress, that's seriously a 303? Is it just distorted with the res up and the filter down? Crank up the resonance, dirty it up real nice, and play with the cutoff. Add echo to taste and maybe a little flanging/phaser here and there. Lots of sawtooths.
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Mar 26, 2013 08:17
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https://soundcloud.com/grandpa-ghost/crystal
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Mar 26, 2013 08:56
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All Else Failed posted:So, I've usually done the bulk of my synths tweaking presets and makin a couple simple synths in Blue, which I do love, but it can be hard to get more... real? sounds from it. If you're looking for emulations of "real" (acoustic) instruments - piano, brass, wind, strings etc - then Blue is not the first port of call, samplers are. quote:I use Massive occasionally but I have much less control with it and it doesn't always play nice with FL for me. http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/458620-pop-sound-sources.html should be some help WAFFLEHOUND posted:Does anyone have any idea how to make a psytrance squelch? All the rundowns on how to do it use obscure VSTs that cost like 90 bucks. Instead of a 303 a Virus will also do the job 
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Mar 26, 2013 09:57
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Flipperwaldt posted:Is that Rob Papen's Blue you're talking about? Yes indeed. And yeah, I couldn't think of a better word for "real". Not real instruments per se. But Blue's presets almost seem a little cheesy or dated at times, or something. With Massive, it's just kind of minor stuff. It'll hold notes when I have it open instead of letting me push a midi input being the biggest one. But mostly I just know Blue better than Massive and have used to much more.
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Mar 26, 2013 11:03
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Laserjet 4P posted:Instead of a 303 a Virus will also do the job Stop making me want to keep this thing. 
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Mar 26, 2013 15:13
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Lump Shaker posted:Hey man, I like the synths and the various build ups and effects you have going on here. I do feel like the drums are missing a bit of groove/pump. Maybe try experimenting with a bit of sidechaining or parallel compression and add a bit of swing. Just a though, nice track though. cheers mate, this is exactly the thing I fail to notice!
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Mar 26, 2013 15:20
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I haven't specifically used Blue, but I do find most presets on any vst can have that cheesy, dated sound. Either that, or way too over processed with a huge stereo image. I actually prefer the former, because they usually sit well in a mix and are easy to beef up and eq carve to taste. The dated and cheesy sound usually comes from playing it clean or in isolation, whereas the latter case are designed purely to sound good in isolation and often take a lot of tweaking and trying to preserve the timbre to get right in the mix. Just an observation as an amateur; I imagine its done mostly to 'advertise' the cool sounds a synth can make, even if said sound would be useless in an actual mix.
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Mar 26, 2013 15:20
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All Else Failed posted:Yes indeed. And yeah, I couldn't think of a better word for "real". Not real instruments per se. But Blue's presets almost seem a little cheesy or dated at times, or something. The only reason I'd recommend abandoning it would be if you feel the interface is holding you back. I mean, tastes and workflows differ and something else might feel more natural to you, even if on paper the capabilities are the same. Poizen Jam has a good point though, that auditioning sounds out of context might be misleading sometimes. The Massive thing sounds like buggy behaviour indeed. It's a shame.
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Mar 26, 2013 20:39
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If you don't like Blue, then just try some demos of other softsynths. I suggest checking out Uhe's stuff (Zebra 2 is great or DIVA if you've got a nice cpu and want that lush analog sound), Dune, Synthmaster, DCAM's synth squad, Sylenth, Reaktor... the list goes on. I love the sounds DIVA makes, but everything has it's own strengths and character. If you just want more presets, there are many commercial soundbanks available for free or reasonable prices. Check out KVR for a list of stuff that sound designers have made for Blue. http://www.kvraudio.com/product/blue_by_rob_papen/downloads Is Massive/FL updated to the latest version? I know it can be hard if it's :files: (not accusing or judging) but there free options for synths (like synth1 or zebracm) and DAWs (Reaper) alike. MixMasterMalaria fucked around with this message at 21:51 on Mar 26, 2013 |
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Mar 26, 2013 21:49
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https://soundcloud.com/joelsimon/detective-work-1st-mix first mix of a house-ish track i'm working on. Still trying to figure out where I want the bass to sit. Appreciate feedback on any aspect of it!
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Mar 27, 2013 02:22
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Thanks guys, that link to Blue patches is awesome. Best thing I could've hoped for! I do like Blue, and oftentimes I tweak the presets to be a lot different from what they are. And have made a couple synths from scratch before. It certainly isn't easy, though. ;D I don't know a ton of about synthesis like that dude in that forum that other guy in this thread linked me. ;D I have used both Reaktor and Sylenth a tiny bit, didn't really like it as my main synth. And one track I made with two Sylenth channels "skips" and buzzes from slowdown, which is the only time that's happened to me. :[ Maybe I should check out some of those others. edit: Massive/FL updated... no. Ahem. Also I thought Reaper was a VST this whole time, not a DAW. A DAW is what FL or Ableton or Reason etc. would be called, right? Enrico Furby fucked around with this message at 09:43 on Mar 27, 2013 |
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Mar 27, 2013 08:58
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Pretty much, but it is also used as a name for the entire computer the software runs on. A plugin needs - as its name suggests - something to plug in to. This piece of software is usually called a host. A host does nothing more than simple mixing of audio signals and processing of incoming MIDI signals. Since there's less overhead, hosts are preferable when you want to take your computer to the stage and play in realtime; since they're less complex, they're also cheaper (see http://www.cantabilesoftware.com/ ). A DAW is a host combined with audio tracks (record/playback) and instrument tracks (record/playback). Reaper is a DAW, and an awfully cheap one at that.  for DAWs are as sensible as for your operating system; if you look at the actual cost per day it's ridiculously cheap and you'll get a ton of use out of it. Most importantly, you don't need the version with all the bells and whistles either.Reason used to be not a DAW; it could not record audio and it did not have support for 3rd party plugins. Now it can record audio, but it won't do anything with regular VST/RTAS/AU plugins such as Massive; but with the Rack Extensions, 3rd party developers can now develop plugins specific for Reason. That means yet another format (and one that's unusable in other DAWs) but at least it's opened up a bit. (Logic is also AU-exclusive, ProTools is also RTAS/AAX-exclusive).
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Mar 27, 2013 11:54
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Laserjet 4P posted:
Seconding this, although I think I understand (but do not endorse) for someone who's literally had no prior training and just wants to tinker with it to see if they're into it. Better to use a friend's, or use the lite/demo versions, but growing up in a small rural town I know how hard that can be. The second you put real effort into the hobby, or start releasing anything make drat sure everything you have is legal. It would really suck to be slapped with a lawsuit after your first Beatport/Itunes release because you used some unlicensed software or samples that weren't royalty free. Yes sampling laws aren't lax enough but that doesn't change reality. And as mentioned, it's ultimately cheap as hell when you consider the hours you'll sink into it.All Else Failed posted:Thanks guys, that link to Blue patches is awesome. Best thing I could've hoped for! I do like Blue, and oftentimes I tweak the presets to be a lot different from what they are. And have made a couple synths from scratch before. It certainly isn't easy, though. ;D I don't know a ton of about synthesis like that dude in that forum that other guy in this thread linked me. ;D It's actually good to stick with a few synths, so you're on the right track mostly. Myself, I initially fell trap to 'I need this synth/vst for this sound!'- my library ballooned to a craptonne of synths I had no idea to use beyond a single sound from a youtube tutorial. It stifles your creativity rather than enhancing it- better to learn one VST like the back of your hand, because you'll be able to make drat near any sound. I would suggest having at least one of each 'type' of synthesizer (loosely defined, but: Sample based, analog, FM, etc.), and maybe a couple for flavour/variation, but pick your favourites. Myself, I use Massive (Wavetable), FM8 (FM), Sylenth (Analog style), and an emulated minimoog (Monophonic analog + just love this drat thing) for 90% of my synth workload, and can create most sounds I need.
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Mar 27, 2013 12:51
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quote:Seconding this, although I think I understand (but do not endorse) for someone who's literally had no prior training and just wants to tinker with it to see if they're into it. Better to use a friend's, or use the lite/demo versions, but growing up in a small rural town I know how hard that can be. The second you put real effort into the hobby, or start releasing anything make drat sure everything you have is legal. It would really suck to be slapped with a lawsuit after your first Beatport/Itunes release because you used some unlicensed software or samples that weren't royalty free. Yes sampling laws aren't lax enough but that doesn't change reality. And as mentioned, it's ultimately cheap as hell when you consider the hours you'll sink into it. Tinkering with it is why pretty much all of the companies offer unlimited time demos.
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Mar 27, 2013 17:07
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marb posted:Tinkering with it is why pretty much all of the companies offer unlimited time demos. Cubase: 30 day trial Sonar: 30 day trial Live: 30 day trial Reaper: 60 day trial (though technically unlimited) FL Studio: not time limited; saving disabled
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Mar 27, 2013 17:18
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I made a new song. http://soundcloud.com/mathbonus/a-pale-shimmer
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Mar 28, 2013 01:15
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So no lie, I have your Enemies remix on my Ipod and I listen to it frequently. Sounds really great on my car system flying over the highway at night. I'm really enjoying your stuff, and it has character- it doesn't quite sound like anything I've heard really, but in a very good way. It's spacey and downtempo but maintains a nice groove. Maybe I haven't been exposed to the artists who influenced you!
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Mar 28, 2013 03:40
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All Else Failed posted:So, I've usually done the bulk of my synths tweaking presets and makin a couple simple synths in Blue, which I do love, but it can be hard to get more... real? sounds from it. I do like the interface and everything, but what would you recommend for someone like me? I use Massive occasionally but I have much less control with it and it doesn't always play nice with FL for me. The way I leraned synthesis was kind of like this. I'd assemble a master loop of 8 bars, set presets that were about what I wanted, tweak those until they got dialed in, and then I load a completely blank instance of that synth with a blank preset and copy the entire thing by hand into the new instance. I quickly learned about prog house plucks with filter envelopes and setting up filters many many different ways like this. It's the most efficent way to master it that I know of. Worked out great in Massive too, which can be pretty confusing for the first time synthesist, and FM, which is just 
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Mar 28, 2013 05:02
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WAFFLEHOUND posted:Does anyone have any idea how to make a psytrance squelch? All the rundowns on how to do it use obscure VSTs that cost like 90 bucks. Example? Because right now I'm thinking Mekkanikka and I'm not sure we're on the same squelch page.
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Mar 28, 2013 05:14
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thegalagakid posted:The way I leraned synthesis was kind of like this. I'd assemble a master loop of 8 bars, set presets that were about what I wanted, tweak those until they got dialed in, and then I load a completely blank instance of that synth with a blank preset and copy the entire thing by hand into the new instance. I quickly learned about prog house plucks with filter envelopes and setting up filters many many different ways like this. It's the most efficent way to master it that I know of. Worked out great in Massive too, which can be pretty confusing for the first time synthesist, and FM, which is just Another fun exercise when you get a new synth is, for a day (or less, depending on how fast you get!) sit down with that new synth and construct a bunch of common sounds and presets to use. Start with synthesizing a kick, then move onto synthesizing a bunch of other drums, as well as common bass sounds (Say, a bass guitar type sound and a benny bass), leads, and even pads if you're ambitious enough. You should be able to make most of these sounds on any synth, but you'll come to realize the strengths and weaknesses of that synth and what you like to use it for.
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Mar 28, 2013 13:04
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slardel posted:I made a new song. http://soundcloud.com/mathbonus/a-pale-shimmer Awesome poo poo right there. I've been working on a track named shimmer for a while, and I think we must have had similar ideas. Although my track is very different from yours it has the same shimmering vibe in the sounds.
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Mar 28, 2013 18:31
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