2,916 Forum Posts by "Breed"
At 2/20/13 07:32 PM, freunleven wrote: learn from the community
WELCOME
You will find many important truths on your journey to the core knowledge of the newgrounds audio forum. Such legacies as the majestic nature of the cock, and the spiritual connection to ones inner troll, and if you're lucky, perhaps a thing or two on the wonders of the soundgoodizer.
Use the knowledge to know what you're doing, not dictate its path.
Today a guy came in asking how to get started in production. I told him about software, about audio interfaces, about microphones, about headphones, etc....
After all that he goes....I want this....itll get the job done (points to a small live mixer). I told him it wouldnt do fricken anything. He still buys it, calling me stupid in the process.
People are silly =)
GL with that production studio based around a mackie vlz 6 channel mixer bro
I know I'm late but I'd still like to contribute some goodies I dont think anyone mentioned:
My problem is that listening to an average song on newgrounds means I could easily bring up a LOT of different problems. There isnt usually one main problem. Its usually a shitload of hard to explain small things that makes ones music suck. So rather then typing out a gigantic review, I click a number that rates the song out of 5. Fun how that works eh?
+1 for Studio One - Easiest to learn. Great for multi-tracking
+1 for FL Studio - Easy to learn. Great for fast midi work
+1 for Reaper - Moderate to learn. Great for editing and syncing audio.
-1 for Pro Tools - Sucks at everything, probably wont work with anything you already have.
I don't get it. Sigs seem like a pretty easy task. Even I would be confident making such a thing and I have something near the level of zero experience do so.
At 2/19/13 03:00 PM, MrSaint wrote:At 2/19/13 08:06 AM, wandschrank wrote:I'll win yer ass over on a record duel any day, chump. But in all seriousness, I didn't mean an instrument particularly, just gear.
You can play recorder? Awesome, I'll give you 5 Euros. We can play a recorder duel.. duet. Whatever.
If you really want to spend 200 dollars wisely, hit me up in a PM.
At 2/19/13 01:21 PM, BrokenDeck wrote: Any questions?
Yeah I have a serious question. When will the winners be announced?
At 2/18/13 11:40 PM, BrokenDeck wrote: Well, which wiener is yours?
Well....if were being honest.
At 2/18/13 10:36 PM, BrokenDeck wrote: wieners.
Whoa there man, how did they get pictures of our wieners? And can I have them?....I need them....for science.
Ah, I almost forgot to brag about my new MPK 88. The thing is a beast. If you look closely you'll notice I have used hello kitty stickers to designate white keys on the pads. Don't judge me.
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- MB - The Black Wind by BreedMichael Breed - The Black Wind
- Score
- 0 / 5.00
- Type
- Song
- Genre
- Classical
- Popularity
- 1 Views
Chocolate Balls. Yeah I said it. Sup?
Lol thats not embarassing at all
Solomente tenemos algunos personas que pueden hablar espanol. Quizas, Acid-Paradox puede explicar la mierda que no puedo communicar.
That should read something like only a few of us speak spanish and acid-paradox can probably explain the shit I don't know how to say.
Primary school spanish class ftw
i didnt use google translate, fuck you for judging me
That's actually a really valid question.
If writing orchestral music has taught me anything the last couple years, its how important dynamics are. When you are integrating the music into film, you definitely want to make sure not to compress anything, or if there is, not on anything that has a dynamic line. This is to further drive the story and have more emotional impact on viewers who are mostly listening to the music subconsciously only.
There is plenty of mastering that doesnt involve compression though. There will still likely be some sweeting, stereo adjustment, assuming headroom was properly monitored during the mixdown phase, overall level adjustment ,and proper dithering is also a part of this.
If you are mastering a track that is being released as music on its own, you may want to consider some light compression to closer meet expected loudness of an average listener. You will find that amongst most any orchestral based music, the listeners are a bit more forgiving. They don't so much look at only energetic loud parts of music as much as someone who say listens to dubstep would. But they still do subconciously process this to a degree, so light compression is acceptable in such circumstances....just have caution and make sure you aren't hurting the musics integrity.
At 2/10/13 03:58 AM, Envy wrote: I'm drunk and I read audio and tempo changing. You can right click on an audio clip in the playlist and select "fit to tempo" and then select "bpm" or something like that, and enter the bpm of the audio clip, and it will in turn match the audio clip to your track, assuming you've entered the correct tempo in from the audio clip.
Words.
Go home Envy. You're drunk. Don't drive though....you don't want to end up on Heaven Road too early........c wut i did thar?
At 2/10/13 12:52 AM, MilkyChocolate wrote:At 2/10/13 12:37 AM, Breed wrote: Are you trying to change the tempo of the audio without changing the tempo of the project?Yes. I do not want the project tempo to be relevant to my time stretching. Can I not select the original tempo and the new tempo and have it (even destructively) change it for me?
You'd have to do that with just the audio solod using the video method I linked. Then record the output and take off the tempo automation and just use the new audio clip.
At 2/10/13 12:21 AM, MilkyChocolate wrote:At 2/10/13 12:15 AM, Breed wrote: Click the dropdown menu where it says Resample and change it to Pro Transient. Now when you stretch stuff it keeps the pitch the same.I remember that, but I mean precisely. Like what if I want to go from exactly 128.24 bpm to 64.59 bpm?
Are you trying to change the tempo of the audio without changing the tempo of the project? Cuz then that would be harder to do. If not....the audio will stay in the same position and length in the playlist when you change the project tempo. If you are trying to automate the tempo without changing the pitch then refer to this video.
It might say "Auto" instead of Resample....but never the less....change it to Pro Transient
At 2/10/13 12:06 AM, MilkyChocolate wrote: Is there a way to change the tempo of recorded audio without affecting the pitch in FL Studio?
I don't remember being able to do that when I was an FL user.
The other day I had to stretch some guitar parts in Live for a friend who only used FL.
If even audacity can do that, there has to be a way in FL, right?
FL can do it. It's pretty easy. Just go to the channel settings of any audio clip (its the little window that pops up when you click and/or double click the audio clip) and under the SMP tab (which is probably already open) there is some time stretching options near the lower middle. Click the dropdown menu where it says Resample and change it to Pro Transient. Now when you stretch stuff it keeps the pitch the same.
You can still do it. Its even easier now. You just need a scroll wheel in your mouse (which pretty much every mouse has). The scroll wheel can also be used like a button so just press it down and keep it down while you scroll and presto! it works.
At 2/9/13 12:12 AM, midimachine wrote:At 2/8/13 11:58 PM, Breed wrote: My guess is that people either missed my question or have no clue to what NRPN or incremental faders are. Aight fine I'll go bug gol about it. Maybe I'll send him an MPK so he can actually work it into FLs supported controllers.fwiw i tried figuring something out but I don't have any devices with endless encoders :v
=P
It's really Akai's fault. Those stingy bastards have been saying they would send imageline an MPK for like 5 years.
My guess is that people either missed my question or have no clue to what NRPN or incremental faders are. Aight fine I'll go bug gol about it. Maybe I'll send him an MPK so he can actually work it into FLs supported controllers.
=P
This is been around for a while. It's cool to see how the genres branch, but the descriptions of the genres can be pretty stupid. Especially for jump up where the only description is about how bad and repetitive it is....pretty biased and not very informational if you ask me.
Also the audio quality on the examples has to be like.....28kbps mp3 or something.
Good lookin out though.
What advantage will defining these words provide? Why the fuck should anyone care?
It's probably best not to go about trying to define such a thing.....because everything can be turned into an "instrument," and this can easily lead to a discussion of what music really is which is an extremely loose term in itself as well.
Don't try to define it, just....do it......Holy shit! Nike makes so much more sense now....
At 2/7/13 09:08 PM, Braiton wrote: Just thought I should share
http://www.youtube.com/watch?feature=player_embedded&v=_-xX7 iWvzbo
Mother of all that is holy.
Fucking....
Gem.
And true as fuck.
There's a very simple way to go about signal chains. Just think about what the hell each effect does bro!
Do you want your reverb compressed? Do you want that extra decaying tail it provides to be louder? Do you want to EQ the sound the reverb adds, or would you rather leave that clean by EQing the original sound source first?
Simple questions you just have to ask yourself when stacking effect. Know what they do exactly, then decide what order based on how you want to mold the sound.
At 2/6/13 10:21 PM, jpbear wrote: This thread should be renamed "my mixes suck and im blaming my room"
come at me
I'll just quote myself since you apparently missed my last response to you:
"If the goal is create a great piece of music, then you have to address this among many issues. This is just one particular thing that gets ignored and it shouldnt be."
