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At 9/9/14 11:03 AM, bassfiddlejones wrote:

At 7/2/13 02:55 PM, Breed wrote: I'm Fat

BUT NOT FOR LONG MOFOS

Plan to drop 75lbs by the end of the year so I can be under 200. Started my diet about a week ago and so far im 10lbs down.

I got this shit.

How's it going man?

My diet doesnt work anymore, it stalled out completely. I did hit my goal last year of getting under 200 though so I lost a total of about 80lbs last year. Since the stall I've gained about 30 back, but I'm not sure how much of that is fat because I do a lot of exercise these days.

I'm onto the long term battle, the life long diet, which is a whole different and slower moving beast. The ultimate goal is to somewhat follow this personalized guideline I wrote out.

The only scarlett series thats rack mountable is the 18i20.

So let me get this straight cuz theres like 5 things you could do with customizing yours.

1 - Custom rack ears to attach them together into a 1 space rack unit

2 - Custom rack ears for each one to take up 1U, allowing to input them into a 2 space rack unit

And then theres the three different types of racks. A 500 series we can count out cuz those would have to be internally modded for that. So its down to the american or european standard rack cases.

Further than that, do you want a studio rack or live rack. As in open face, treated, elogant looking--versus enclosed with lids tough and rough style.

Are you able to make your own custom ears or do you need a company to do that for you?

Also, you could just get a sliding rack drawer/tray and put them in that and then nothing has to be custom or attached although this doesnt work for travel.

questions questions questions.

At 7/28/14 01:27 AM, Rahmemhotep wrote: Huh, found the lounge on the second page.

Tis a bit concerning. You suppose we ran outta cock jokes or what?

Neurofunk is like any other genre.

People use synths to designs their basslines more than premade samples. Vengeance has its place amongst drums, although a lot of the time so do drum kits like you might find in Superior Drummer, Addictive Drums, Studio Drummer, etc. Layering of the two gives quite a nice effect.

Besides that, hit me up in PM if you want just a stupid amount of neurofunk samples specifically.

A ton of us cinematic dudes use vocals all the time. Its just that 95% of the time, said vocal content is predominately "ooo" and "ahh." Although catch us on a good day and you'll get a nice variation of fake latin.

ADOS, AH, CRE, DOMI, NOOS, TRA, BA, DOH, WAY, YAAAAAAAAAA

Welcome all to the ForgeyFest of 2014.

I'll be your resident DJ tonight.

Come join us for a fancy time. Get your blood pumping with an old favorite to start the night.

• 
  BAC - How Peculiar by Koriigahn

  BEN AMANTE AND CONOR GO MENTAL

  Score

  3.65 / 5.00

  Type

  Song

  Genre

  House

  Popularity

  6,133 Views

• Loading...

For some nostalgia, check out the old forgeys

2012, 2011, 2010, 2009, 2008

At 7/4/14 03:40 PM, Chronamut wrote: so who is gonna host forgeyfest 2014?

oh snap i forgot about that too. I've DJd a coupled times maybe I can toss together a small event =P

Wow, John Williams really stepped up his game with this thematic remake.

Make sure you have at least one instance of "Soundgoodizer" on every clip, as well as the master track. If you arent sure how many to add, more is always better.

A few tips, before posting again do read the Audio Forum Rules.

If you are looking to show people here your audio or services then try the Audio Advertisements Thread. Or consider the Review Request Club for feedback.

If you want to chat about regular stuff with us, join us in the Audio Lounge.

Try not to make this mistake again, again. I see you have already been told about audio advertisements in a previous thread of yours.

Cheers!

I'm sure theres many ways to create this, but to me it sounds like two oscillators or synths, one of which is going through a formant filter or some eq modulation, while the other remains nice n steady(timbrel-wise, not note wise cuz its just a broken major chord). Gated maybe, or maybe just sequenced with respective envelopes. Low volume/feedback ping pongin delay. Touch of verb, and you'll be able to hack it out no problem.

An SM58 is a dynamic mic, which is more or less a speaker in reverse, using a moviling coil and diaphragm. However trying to send sound out of it, should be pretty much inaudible as its a very weak and delicate signal thats meant to be handled (at least in terms of power, not SPL).

That said, my first guess would be that you're using a cable that isnt compliant with your set up. For example you may need unbalanced for a cheap home input like that, or vise versa, or even TRRS which is what phone mic/headphone units use. The pins probably just arent matched up and so the mic is receiving when it should be sending audio.

TLDR; Try a different cable see how that goes.

Its a tough market to crack, thats for sure. The variety you can approach this topic is also huge so it would good to know what direction you're more interested in. Do you have one main style? Such as orchestral, or edm, or folk/rock/pop? Do you produce multiple genres? Are you more into writing & producing? Recording? Arranging? Teaching? etc....

These are questions to ask yourself, but if I've learned anything whats going to be most important is that you are punctual, respectful, fun to work with, humble, and not overstepping the bounds of your abilities. In addition to that, always be networking. Have a direction and name and keep everything graphically consistent across any medium you participate in be it myspace, facebook, reverbnation, newgrounds, thesixtyone, soundcloud, twitter, audiodraft, audiojungle, youtube, elance, musicdealers, or any other site i'm forgetting.

On the side of taking commissions for scoring, or doing sfx, its important to constantly build your skills and practice. Don't label yourself as a professional, but also don't sell yourself short. Keep eyes on forums and try to meet game devs, animators, film staff, etc, through colleges, friends, internet, and conferences. Do some free gigs to build up a portfolio and a demo reel, and start building an understanding of time cost, so you can develop a rate thats fair. Generally 60-120USD per minute of produced audio is a good starting point depending on your success and experience.

On the side of recording, local networking is much more key. Getting the gear also becomes a large factor because it takes a LOT of space and gear to one shot record a band. I cant provide nearly as many tips on this but Passmans "All you need to know about the music business" provides good tips into this direction.

On the side of mixing/mastering services, a lot of things are similar to that of a freelance composer/sound designer. Network, span out, get a portfolio, have defined rates, demo reels, and be awesome.

It's fair to say having your own website and domain email is a good way to bring on a more professional demeanor, but make sure you have something to put up before you even bother.

My last insight in this mini rant is to be wary of going all out with the current state of the market. The last 5 years have churned out HUGE amounts of competition, especially in the scoring world. Technology has reached the point where accomplishing this is not highly expensive, and many of the prospective clients will not know whos established and who isnt, what qualities in music production are, or what a fair rate is. It can be very frustrating and time consuming to get a gig, let alone to get one that pays enough to be worth your time, or worth your rent. You can battle this by being consistently productive, beyond inspiration, and by setting up multiple ways of making money, such as additional services, licensing music on host libraries, and generating ad revenue through your own site or others.

It's a large topic though, and there is no defined pathway to success. Passion is a must, because realistically you may have to work considerably more hours than a standard job to make a living. I, for example, on a normal week work anywhere from 50-80 hours, and I am just barely scraping by.

/rant

More tuts

Massive, FM8, and Harmor are the synths to use. Skrilldog doesnt use Harmor as far as I know but you can achieve his sounds just as easy and between those 3 synths you have every type of synthesis so it's a nice trio to have.

I'd be happy to sponsor the competition with some money or gear and audio books

Fuck I'm old.

They are promoting hard through Guitar Center so I get to listen to this 8-10 hours a day, 5-6 times a week for the last like 2 weeks.

I'm about ready to shoot myself the next time I hear the line "I'm guilty all the same"

I guess a couple hundred bucks of gear and books isn't really enticing enough then. I was hoping for some excitement. Are we all getting old or what?

At 6/12/14 03:30 AM, jarrydn wrote: If you're looking at the CS-10, the Arturia Microbrute is a really cheap fun synth for noodling and stuff. So portable too!

I get to play with a set up Microbute 40 hours a week at work so I'm kinda over it. I think my personal hardware synth desires are completely random though so I base that on absolutely nothing haha.

At 6/12/14 02:28 AM, BrokenDeck wrote:

At 6/11/14 04:01 PM, Chronamut wrote: I remember last year there seemed to be a momentum carried on where people were running contests left right and center..

Contests have pretty much been put off indefinately as the NG store no longer exists, so prizes really can't be handed out anymore.

inb4 @Bosa

I should run a contest and hand out old gear I dont use much. Any of this sound worthy of a contest?

Presonus TubePre Preamp
Korg Nanopad Midi Controller
Behringer Mic200 Tube Preamp

First place gets first pick, second place second pick, and so on. Maybe toss in first place gets a copy of either David Gibsons The Art of Mixing or Owsinski's Mixing Engineers handbook.

Would that generate a crowd we think?

I prefer hardware for fun, software for results. I've been eyeballing a Yamaha CS10 ever since this video(its the little keyboard on the table doing the coolest bassline in the video).

But really yeah its just about interface and preference. It used to be stuff like that and also stuff like traditional vinyl had "analogue warmth" but thats all simulated now too. Arturia and Spectrosonics for example have great analogue simulation (even though omnisphere isnt modeled after stuff it still sounds nice and warm and rich).

I find that you just get attached to a certain style. Me for example, I'm personally in love with Harmor, but before that I was an MS20 nerd, and before that, a Massive nerd, and before that, an XVM5080, and dare I say before that....3x Osc....so yeah.

I'm sure someone already mentioned but there isnt gonna be much of a difference between any of the aforementioned microphones (even the a couple hundred dollar ones, or even higher end ones than that).

A mic is only 1 of 3 major hardwares responsible for quality these days. The other two being the space and the pre amp. You could get a Blue Bottle for 6 grand and still sound like shit. That said, hardware itself is only a third of the game in the first place, performance and know-how make up the other 66%.

Good quality comes from good balance of everything, and the majority of it requires no money, just time and practice.

That being said, Samson stuff sounds fine but its built cheap. I'd personally prefer Blue. They have better support and build longer lasting gear. Get whatever you feel comfy spending and don't worry too much about details. It's fine to drool over reviews and stuff but most of the people reviewing cheap products have no clue how to properly review gear in the first place so don't rely on it too much. Just go with your gut and worry more about the other things that affect quality.

Thats just my 2 cents after explaining this a couple thousand times.

Also if you're in the states, hit me up when you decide on a piece of gear cuz I can get you a better deal than any online retailers through Guitar Center. Granted with something this low price that may only amount to like 10-30 bucks less price than you see online.

At 6/4/14 10:29 PM, Cabbster wrote: I'm constantly unsure what sidechaining is used for.

Is it simply to keep all synthesizers going to the rhythm of drums, and vice versa, through linking volume parameters to peak controllers, or to simply have easier control of automation on various parameters?

What is the purpose of this, just for effect, or for overall mixing/mastering?

There's a lot of reasons for sidechaining in whatever form it comes. In practical mixing terms, its used to help keep conflicting things like kick and bass from overlapping as much, generally dipping out the bass at the exact time the kick hits automatically. In this same fashion its used for an effect, a swaying type of sound generally. With 4 to the floor its not very hard to just automate whatever parameter, but with more complex beats this gives you the freedom to rearrange without redoing automations.

Also, using it subtle lets instruments or voices stand out amongst background. A more extreme example of this is when radio producers speak over music or whatever in the background. Everything is ducked out for their voice so they dont have to manually adjust all volume all the time.

So I guess in laymans terms, yes it makes automations easier by making them automatic, but there are definitely cases where it would be next to impossible to do what a sidechain does as well as it does with just hand drawn or moved variables.

At 6/4/14 06:19 PM, sorohanro wrote: Music Tutorials
I want to make some music tutorials and I want to have screen capture of my DAW. Anyone know a good (maybe free or with a demo/trial without watermark) program? something gentle on CPU, because my DAW is not :D

Most gamers and tutorial guys I know use FRAPS. It is free last I checked.

At 6/2/14 12:31 PM, Ryuno074 wrote: I'm a sound designer and I honestly think the thread title/OP is not only misinformed, but needlessly inflammatory.

At 6/2/14 04:49 AM, benjadaninja wrote: I think it's stupid when people judge you for using presets

I think neither of you guys read any of the thread. Nobody is slandering composers or producers. Also @benjadaninja somebody already made the same point as you and I already spoke to that point. That picture is extremely overused and while humorous it doesnt make any real points to the topic at hand.

Synthesis is largely misunderstood and like using any parameters for any effect or function in a production set up, DAW or otherwise, is a skill and is beneficial to know. Presets come in all shapes and sizes but in the long run everyone can benefit from knowing why theyre doing whatever they are doing whether its using compression, or setting an EQ, or mixing down your master track, creating your sounds, sequencing your own sounds, etc.

There is no argument over whether or not using a preset for any particular thing makes you bad at what youre doing, the difference is simply whether you know why you are or arent doing or using something, preset or otherwise.

Knowledge and application are both aspects of skill, and while yes you can achieve one without the other, theres no reason to disregard it.

At 6/1/14 05:32 PM, Cabbster wrote: im pretty sure the skill is not how you make a synth but how you use it.

This is a big topic at my work. Yes its true you dont have to invent the guitar to play it well, but I dont feel like designing your own synths is the same thing. The oscillators, envelopes, filters, and effects inside a synth are all functions of it in the same way guitarists tone knobs and volume and tubes and amp settings etc are. Knowing how to use the controls of a tool youre using to get the sound you want is indeed a skill, and not one to be thrown out by the illusion that youre somehow always having to go backwards and start from scratch with the very concept. We arent talking about building your own synths, just using the ones you have effectively.

I get more gratification from making all my synths from scratch. Its pretty rare to see a preset from me, but thats really just my preference. I see it as both more fun and skillful to create the sound you want rather than just thumbing through thousands of sounds somebody else made for you. Also its fair to say that many genres pride themselves on having unique sound design and developing your own sound. Lets also not forget that analog or vintage gear more or less requires you to be able to do this to effectively use it, and that has a place in music as well.

Even in the sampling world, with drums and other commonly used sample banks. If you have the skills and tools to just record it yourself, I find it much more gratifying and your sound will be more unique to you and your set up.

At 5/24/14 03:29 PM, SRT-M1tch wrote:

At 5/23/14 02:08 AM, Breed wrote:

At 5/23/14 12:17 AM, SRT-M1tch wrote:

At 5/15/14 06:07 PM, benjadaninja wrote: Hey doods, I have a medium sized room that sounds like crap. I need to make it sound good. I am looking at the Arualex pro plus roominator kit. Any of you have experience with these products? They good? Thanks.

Auralex is the most commonly used absorption material on the market, but have you considered diffusion rather than absorption? Diffusion is randomizing reflections in the room and bring them back to your head to create true spatial awareness for yourself in your mixes. Look up some acoustician forums and articles about this topic, very interesting.

Not only would diffusion be more expensive to do properly, it would also have a much smaller marginal effect on quality of the space. Generally the order for most people is absorption, sound proofing, diffusion. Granted, small home made stuff that somewhat relates to diffusion can be employed to give the space a more unique character, but it wont outright improve room quality when done on the cheap like absorption can achieve.

Also @OP - Listen to those who say Auralex isnt the smartest choice (it is however the easiest cheap choice). Denser materials absorb lower frequencies with smaller footprints, and they do a better overall job of accomplishing the task of treating a room. Also placement is a large factor. I recommend reading my rather grim telling of common mistakes and tips in acoustic treatment here.

One of the most common ways of being taught sound treatment is to deaden a room. This is NOT the ideal way to mix. You want room reflections to be of a certain length (.3s for control room) and absorbing them all will KILL your spatial awareness and destroy the purpose of studio monitors. You might as well mix on headphones.

Right, I believe I go over that in the article I linked. Who said anything about deadening a room? Generally its 30-50% coverage, making sure to include first reflections and other problem areas like corners, windows, etc. Diffusion only addresses flutter echo and other phasing issues, but absorption will help to not only open up the sound, it also addresses coupling and room modes giving a more accurate full sounding room, and it also helps many of the same phasing issues that diffusion addresses. All the important first things to treat are absorption mate. Diffussion is used to help scatter sound in places once you've hit an absorption cap. It will also help make the room sound bigger, but its very hard to do right, and generally both more expensive and less effective.

At 5/21/14 11:50 PM, Yoshiii343 wrote: Why the fuck are tracks getting louder by the day?

BECAUSE MAN!

WERE AT WAR!

It's the passive minds of the many versus the conscious minds of the few!

Save yourself while you can, and buy my shirts. 5 easy payments of 5 bucks. It doesn't get any easier than that. Order now and I'll throw in a custom shirt tag. That's an extra 20 dollar value free for you. Additional fees may apply.

At 5/23/14 12:04 AM, SRT-M1tch wrote: The most common way live shows (that require the drummer to synchronize to something rather than the other way around) are done by feeding the band members "monitor mixes" through their in-ears or wedge speakers that face them. These monitor mixes are tailored to each member of the band and take into account click for the drummer.

For your situation, you would either have to feed the drummer a click track from the same source as the pre-recorded parts OR manually trigger the parts by section to be in time with the drums (like a drum pad or MIDI controller). Those are pretty much your only options.

Yay I agree with you in this thread.

To add, the method you chose to integrate a click track is largely based on the hardware used for the synths/backup music. If its a computer, consider using an interface with multiple outs so you can asign a seperate click track. If its hardware based, youll need to either physically or manually sync it with a click (be that hitting two buttons at the same time which requires some practice, or using CV/MIDI data to sync two devices. This way you have two channels or two sets of channels on your mixer to assign accordingly. A main mix, and a monitor mix. In a nicer set up each member has their own mix through a monitor distribution system of some sort, but in a typical smaller band set up, you may only have 1 or 2 assignable group outs or monitor outs so you may have to share the click with the band on some wedges or in their in-ears, just make sure it isnt audible in your front of house sound; If it IS clearly audible in front of house, then your drummer either needs his own mix or he needs to learn to play along with a click track. You shouldnt ever be completely out of sync with a backing track if you guys can all hear it. That of course entails acquiring some chops though.