2,916 Forum Posts by "Breed"
At 2/19/11 03:29 PM, EricFreeman wrote: I feel silly having so many fairly high rating songs on the audio portal and still not really knowing what a chord progressions is.
Do you know what a chord is?
At 2/19/11 01:54 PM, eatmeatleet wrote: Here is a basic simple chart i made for beginners
betch
This is a good chart to try using when making progressions in a major key. I just drew it up, but its out of my theory book. Very conventional but cool none the less
At 2/19/11 12:40 PM, SBB wrote: I didn't know chords had nationalities!
Yeah, these kind of chords usually arent discussed until higher levels of music theory. The third level at my college.
At 2/19/11 10:58 AM, RampantMusik wrote: stuff about sixth chords
Well said.
The III chord in harmonic minor is also augmented. III in natural, III+ in harmonic. Although I'm not sure how it falls into conventional progressions....
At 2/19/11 12:19 AM, Giantsgiants wrote: In FL Studio, what would the best instruments be for making techno music? And is refx Nexus any good?
3xOsc and Sytrus are the only two synths you ever need once you know what you're doing. Simple subtractive and FM synthesis modules.
Nexus is a good way to sound like everyone else who makes techno/trance/whatever--if that is "good" to you then yes, it is good.
Biggest audience you have performed for contest.
READY GO
only 100 for me =(
At 2/16/11 08:53 PM, jarrydn wrote: That band is shit because I'm not in it.
You're just jealous cuz I'll be playin the synths.
How did I get into a band?
That's really strange. What appears to be happening is just a UI glitch, because the spots there are from the sample UI channel settings, despite it clearly being the plugin loaded. If restarting FL studio and reloading a 3xOsc doesn't fix it, then you may need to re-install FL Studio. But I would definitely suggest reporting it in the tech support forum at image-line.
That said, for future reference, there is a FL Studio help thread (it can hard to find because it was made back when it was usually referred to as FruityLoops so you have to search that to get it.) Try to keep your FL studio related questions in there.
Good luck!
At 2/16/11 06:34 AM, Monny wrote:At 2/10/11 01:03 AM, dietsnapple135 wrote:You are wrong on so many counts.
One of the more extreme examples of having powerful bass is Pendulum. They layer their basses to hell, they use side-chain compression to keep other instruments out of the way when they EQ properly. But a big way of getting your bass to stand out, is to layer it with other basses/whatever you want, to make it take up more obvious frequencies, around 1khz is prime human hearing range. So, mix it up, layer your bass, EQ room for your drums and high frequencies, and try side-chaining, if you really need the room. Good luck.
Pendulum doesn't layer their bass synths.
Boosting the low-end freqs when you're EQing IS increasing the volume in relation to the rest of the sound.
Naming a frequency isn't naming a range (i.e. 1kHz). The range of human hearing is anywhere from 20 hz - 20khz. This being said, the frequencies you're going to want to boost for a bass synth/drum is from 60-100hz (so you can feel it AND hear it). Sidechaining is a must, otherwise the lows and mids of your mix will get muddy and unclear.
Also, what the FUCK is an "obvious frequency"?
Somebody woke up on the wrong side of the bed today.
He said 'prime human hearing range' and he definitely sound around that area not just that one frequency. By prime human hearing range he is referring to the fletcher/munson curve of hearing. We hear mids easier then we hear low and high frequencies. near 1k being the most prominent, or PRIME area.
By obvious he means the same thing, as in the frequency areas that stick out the most.
For the record, I highly doubt you know jack shit about the exact way the way pendulum does the sound design on their bass lines. They may very well layer lots of different sounds for their basslines. Good gritty low mids with a sub bassline is a popular layer. And even if they kept it all within one VST, they still stacking oscillators to get a thick full sound. Perhaps they don't 'layer like hell' but they sure as hell do layer their basslines. You can't get that thick of a sound out of a single oscillator.
Even with the extended memory version of FL Studio, it still only uses 4gigs of ram. Once they fix up their plugiin bridge glitches it should be more then enough. True that most of the power is in the CPU, but with East West shit it takes quite a bit of ram as well since it has to load up so many damn samples per instance.
Long story short-- you're set
At 2/15/11 09:20 AM, LfunkeyA wrote: yes i'm craving, everyone is.
Incorrect.
You wan't to whine about votes, there's a thread for that here
Please read the posting rules sticky while you're at it.
I was an only child too. So I crave attention and complain when I don't get it. We should hang out since we are so similar.
Oh wait nvm thats just you...
Mario Paint is what all the pros use.
First and foremost, make sure you are using a type of ASIO sound driver. These greatly reduce latency from MIDI controllers. I don't know about garageband, but I'm assuming that it has a built in ability to adjust buffer length, set it lower to get less latency. Dont go too low or you will get artifacts which is a problem of its own. Try to find a good low setting by going as low as possible then raising it until distortions go away....then raise it just a little more then that for a window of safety.
Other related reasons for lag could be due to your computers CPU and the amount of USB peripherals you have set up. You could manually overclock the CPU(if thats possible with apple comps?) and that would improve performance. You could also try unplugging other USB devices(assuming your MIDI controller is USB) to try to lighten the load comin through USB.
At 2/12/11 11:01 PM, Acid-Paradox wrote: I recommend you to get also a POP filter which you can make a homemade one, with a sock and a handmade ring, and you can use your mattress as a soundproof wall.
I second this recommendation, but Acid-Paradox made the same mistake that I made a while back. A sock doesnt work as a pop filter, rather just an air filter for lowering breath and wind sounds.
A pop filter helps eliminate peaks in amperage from 'P" and "B" consonants in words. It isnt the same as a sock. Pop filters are pretty cheap though. Like 20 bucks. If you are going to get a nice condesor (150-200 USD for mid quality), you might as well add that to the cart. Shouldnt make that much of a difference
It seems to me like a bunch of you guys just shit all over him without understanding the question in the first place. I don't think he was artistically dancing around the question of how to be good at making music like so commonly we run into around here.
From my understanding the question involves tactics for getting people to hear a phrase that isn't actually playing, as in setting up an expectation and then satisfying the expectation without actually vocalizing it. It's a difficult thing to explain in words after all >.<
I've experienced this with music, but I wouldn't be able to derive any kind of tactics with it. Although there may be some melodic correlation with cadential relationships. I do think that for that to happen it requires a good balance of high end sound and composure. Soilid advice for any idea which others have mentioned.
At 2/12/11 10:32 PM, MeteorManMike wrote: Anywhere I can go to learn just what the heck THIS thing does? I've only been using presets and I want to know how to make my own.
http://www.youtube.com/watch?v=e4OWsez10 Zg
Great Video on Sytrus.
LOL and immediately back to advertising in the wrong place. 3 Times in less then a day of being back up
my guess
$99.99
You guys all care too much in my opinion. Mods and regulars alike.
As far as I can tell, your idea of what 'digital audio' means is extremely abstract and inaccurate.
At 2/12/11 09:19 AM, paublo666 wrote: im rlly new to recording and when i try to put a vst on a digital instrument (not midi) it doesnt work, is it possible to put a vst thats not a soft synth onto a digital track?
Is english your second language?
Let me see if I deciphered this right:
You have a hardware synthesizer and you are looking to record its' output?
At 2/11/11 06:09 PM, jpbear wrote: Is there a way to do an instant change in value in automations in FL? Yes i know you can make it just change really fast, but that can sound a little bad a lot of times.
Dont make it go from 100% to 0% via direct automation points, use the 'Hold' shape automation at the point you want and that should avoid the 'click' sound that can occur. A lot of times when youre dealing with fast filter changes as well you get clipping, so a limiter can help stop that kind of distortion too.
Any specific examples of the trouble youre having?
At 2/9/11 09:46 PM, Tzunami wrote: Okay, I've got a quick and simple question:
How do I make my bassline stand out. I've seem to flip between bass being too loud and no kick to having a kick with a "weak" bassline. It's hard to keep the bass in, without muddying the track. I don't mind the level it's at now, but with all the other sounds in my song it still tends to hide behind everything.
There's two approaches to this. And feel free to use both at once too.
The first is what I call a counter EQing technique. First you get a real thin bandwidth on one of the inner filters in Fruity Parametric EQ 2 and raise it all the way, and then sweep it back and forth to find a 'sweet spot' in the kick. Most likely this will be somewhere between 60-100hz for a kick. Once you find that sweet spot, lower the amount its raised to a respectable amount. Then go into your bass mixer channel, and add the same EQ. Get one of the same filters and put it in the exact same place as the kick. Make the bandwidth just a tiny bit wider, and lower it. This counter EQ will make the sweet spot on the kick come out more when put against the bassline since there will be less interference. I hope I explained that right. I am assuming you know how to use mixer channels and a little bit about EQs.
The second method is the most popular and will always work like a charm. It's a radio producers trick for getting their voice to sound clear when talking over music. It's called sidechain compression. You might be familiar with using the Fruity Peak Controller if you have ever tried to make those cliche progressive house and trance offbeat basses and pads and stuff. If not....then this may take a little bit of time to type out....but oh well Im bored anyways. A peak controller will do various functions based on the amplitude of the signal it is processing. So put one in your kicks mixer channel. Initially it will mute the kick, but just click the very bottom right of the plugin where the little orange checkbox is that says mute next to it to uncheck it. Next, right click the volume of the bassline and go to "Link to controller"--a window should pop up and from there you need to do two things before clicking accept. First, go to the internal controller dropdown menu and select the Peak Ctrl (mixer channel name) - Peak option. Make sure no to select LFO or both peak and LFO. Second, click the little dropdown menu arrow directly to the left of the Mapping Formula title, and chose Inverted. Then click accept. Now solo your kick and bassline, and tweak the top set of knobs in the peak sections of the peak filter until you get your bassline to sound right. Whats happening is that the amplitude of the kick is controller the volume of the bassline. With the right settings, this will make the bassline drop out when the kick hits, then immediately come back in as the kick decays. It sounds really smooth when set right, and the bass doesnt sound like it goes away at all, but the kick will be quite apperent.
Let me know if you have any questions on that. Hope I typed it all right and that it made clear sense!
Had you not accentuated the word bought, I would be tempted to help you, but instead I'm more tempted to insult you.
Support your software engineers! They spent years in college to get a degree to make a living, not to get ripped off. You have an honest interest in writing music? Then study music and start with what you can afford. Pencil and paper will do just fine.
/rant
At 2/1/11 07:34 PM, ZStriefel wrote:
Yeah I thought that was pretty snazy.. and intimidating D:
oh well just gotta throw in the willhelm scream a couple dozen times and it'll be solid.
lol can never go wrong with that. be sneaky and use the third scream instead of the first.
Did anybody notice who is judging this?
Scott Martin Gershin (Star Trek, Hellboy 2, Chronicles of Riddick, American Beauty).
Charles Deenen (Need for Speed, Fast & Furious 1 and 2).
David Farmer (Lord of the Rings Trilogy, King Kong, The Incredible Hulk, The Arrival).
Tom Ozanich (Kill Bill: Vol. 2, The Incredible Hulk, Speed Racer, 2 Fast 2 Furious).
David farmer also did sound for WoW =) I'm excited for this
At 1/28/11 07:50 PM, jpbear wrote: anybody know if theres a way to make the midi notes you play on midi light up(on the side) in fl layer? its kinda of annoying.
They already light up in the top left of the screen when theres input, and I believe it shows you the velocity level and note as well up there. If not, it lights up in the piano roll if you have that open. Where are you talking about exactly?
At 1/29/11 05:29 AM, ACINO wrote: I have a little bit different question..... Does anyone know a good trustful site where i can find custom fl studio themes/skins:D?
flstudiosamples.com has 62 of them
The Skin Tank (fl studio fan forum) is also pretty legit. Although these are forum posts from developers and what not for new releases, so its not just a simple nice list.
