Thanks bro :D
Box.net is a better file hosting service. May want to check it out (free, no ads).
Forgot to mention... here is the link to the featured artist:
https://www.facebook.com/Soalnias
Demo of the upcoming song by SoalniaS
WIP
stuff
this
http://www.newgrounds.com/audio/listen/506439?updated=1
did that last night
At 9/13/12 03:10 PM, Chronamut wrote: if any of you are curious as to what my group is about, you can view a condensed beginners guide HERE (might wanna dl it).
Link to facebook group or it didn't happen. lol
At 9/13/12 08:56 AM, Blackhole12 wrote:
But you know, feel free to comment on aspects of a site you freely admit not having even been on for months!
Thanks! Gawd it's good to be back.
At 9/13/12 01:35 AM, Blackhole12 wrote:At 9/13/12 01:20 AM, joshhunsaker wrote: My question... is why is newground missing the social tools to say link a newgrounds profile to fb???Meanwhile, someone wants playlists for the audio portal, audio scouting was only just implemented, and less than a month ago we finally got the ability to delete songs.
Gee I don't know why newgrounds would be missing facebook integration.
lol, hey so I know there's always "things in the pipeline" and such haha. I'm not trying to say people are slacking. It's just the effort is already like halfway there with the individual song social buttons.
Umm, we've had the ability to delete songs for a while now. I deleted a bunch of mine a long time ago. Maybe that changed and then changed again. I haven't been using this site for a while (ever since the redesign, which kind of turned me off actually).
so peeps, i finally got my facebook band page up...
My question... is why is newground missing the social tools to say link a newgrounds profile to fb???
another one that i just finished
film score music
small chiptune piece
A bright, splashy pop/r&b sort of song
I would definitely do 16gb of RAM...
http://www.amazon.com/dp/B004RFBIUU/ref=
asc_df_B004RFBIUU1870881?smid=ATVPDKIKX0 DER&tag=hyprod-20&linkCode=asn&creative=
395093&creativeASIN=B004RFBIUU
You can't beat a price like that. If you want the cheapest value-based build possible go for a Phenom II 6-core like the 1055T or above. I did a build for my friend for like $400 for everything out the door around a 1055T and it will load about 2x as many plugins as my Q6600 rig will before maxing out (and that is at an extremely low-latency). SSD gets pricey but do consider maybe a 64gb model just for the windows install. Soundcard do a Lexicon Alpha or similar (no-brainer). You'll want Windows 7 (64bit) so you can load large sample libs and make use of the RAM. Seriously, I bump up against the 3gb max in Windows XP all the time now so I'll be doing a new build around Windows 7 shortly for myself. Running out of RAM sucks.
Here's a real-life example of what I'm talking about. I'm sure you all know Rig. He's a pretty ridiculously talented guy who knows what he's doing. But (of course) Rig is looking to go somewhere with all this audio stuff. So he did what anyone would (and has to do) if they wish to get anywhere in this game of production and built himself a proper studio.
That takes (you guessed it): $$$ CASH-MONAY $$$
And look, he's been making money from his music for a ways now (due mostly I'm sure to cold-hard skill which I mentioned was an option but I'm sure he also had a decently accurate setup to mix on). I'm sure now he'll make a SIGNIFICANT amount more. You can see below this guy isn't messing around. His clients will see that too.
I hate to do this... but as an example let's look at people who have either made it big or are in the process of making it big. Do their studios or setups typically have less than $1k invested... or more? I think we've all seen the pictures.
I'm not saying you can't make it if you don't have money. But just be prepared to - A. Have incredible/serious/ruthless amounts of skill to compensate for an inaccurate mix environment that will never quite translate right - B. Get enough money to at least buy real studio time - C. Get incredibly effing lucky with a whole slew of mix decisions somehow (pretty much totally unlikely)
Seriously, if you don't have money, those are your options. I'm sorry.
At 1/15/12 05:13 PM, Xyresic wrote:At 1/15/12 03:54 PM, joshhunsaker wrote: lulzYou heard it here first folks, either be xKore or be willing to spend all your money on top notch audio equipment and you can make it big!
lol, also not what I was saying... I don't have really expensive equipment - but the gear I do have is rather accurate. I was never able to mix music like xKore honestly without the aid of smartly arranged reference equipment.
Honestly it took me like 10 years of mixing to realize what types of mixing mistakes I was making originally. Some people just seem to have an ear for it right off the bat. I certainly didn't.
At 11/17/11 05:00 PM, IAMSuB0 wrote: fuck
Damn. Serious? Dynaudios? LOL, you're probably the only person on newgrounds with that set I would imagine haha. What in world are those hardware rack-mount units?? Neve/aurora/lynx/chandler stuff or something?
At 1/15/12 03:11 PM, Twone wrote: I need to get something Pro Tools compatible. I have a Zoom16CD something or other. It's good, you can record up to 16 tracks, but it's not compatible with certain programs.
The newest version of protools isn't tied to their own interfaces anymore. It's not "technically" yet compatible with everything but they have a list of what it does work reliably with on the AVID site I believe.
Here's the thing, songs that are on the radio or famous or whatever have a lot of very specific things going for them. Here's a few points I've noticed that tend to escape people in terms of how insanely vital they are even though they seem obvious after you break them down.
One is going to be the quality of the actual recording takes that were done for the song. Let's face it, a $10k mic/pre combo in a world-class studio is just going to seriously out-class a Blue Yeti going straight to your computer. Ask yourself - is it easier to get a good take with a very very expensive hardware vocal chain and ample high-end monitoring options or a single cheap dynamic running into a $100 interface with limited monitoring options while listening on headphones that barely produce intelligible sound? I shouldn't really have to answer that, but then consider which situation also tends to lend to more creative and constructive mix decisions - pissing time away correcting recording issues and deficiencies or throwing down effortless takes with the aid of top-notch equipment that makes it hard to sound bad? So, we see here you have what is essentially a money problem.
Another thing that people forget is the quality of the instrument you use is also going to seriously influence your ability to be creative. Some people will say "naw dude, that's not even true I can write just as fantastic music on a crap GM sound bank as on a Roland Fantom G8". That's an idea you could refer to as being "total bullshit". Try sitting down at a horribly out of tune Baldwin spinet piano and writing music. Done? Now try the same exercise sitting at a properly maintained 8 ft. Steinway concert grand piano. I don't think I should need to expand that example. The quality of the sample-banks/instruments/hardware you are using DOES matter. In fact, it matters A LOT. Why is it that people like expensive gear? Is it because it's a status symbol and looks prettier than your current stuff and the light-up buttons provide a nice warm glow in a dark studio room? No, it's because higher-end equipment is literally just more fun to use. I have yet to sit down at a $2k keyboard at guitar center and then be like "gawd, I sure do miss my POS Yamaha PSR-225 and it's 3mb of onboard garbage AWM synthesis whatever". If I could plug notes into FL Studio and have it literally sound the same as having the San Francisco Symphony in my room you better believe I'm going to immediately start writing some insane Hans-Zimmer-on-music-cocaine quality sh*t right that moment. I would probably then very seriously consider taking drugs so I could write music for as long as humanly possible before collapsing. Unfortunately (or maybe fortunately for my body) I don't have a sample bank that sounds like that so I really don't get the same feeling about wanting to write orchestral music that I do when considering the possibility of having gorgeous women get involved in jello-wrestling competitions to see who gets to be the first person to make me a sammich. If this sounds like familiar territory (the overall point of the paragraph, not the jello wrestling bit) it's because we're looking at <gasp!> another issue related to money and hence the quality of the equipment.
Another issue is the quality of the mix environment. How accurately is your song going to translate after your done? How many times have you written a song, thought it sounded "phenomenal" or some other superlative description and then heard it on some other stereo and it was... sucky? Wow, well - funny... cause this really happens ALL THE TIME with project studio setups. Do you think that might just have some tiny impact on how intent you are on writing music in general? It certainly does, after realizing that the song you've just spent 50 hours writing and producing is actually UNLIKELY to even sound good to other people because you mixed it on an inaccurate system you bet your ass it's going to subconsciously affect your ability to compose serious music. Being able to throw down or orchestrate a piece and be absolutely confident of how that will then sound to anyone and everyone else goes a pretty damn long way in changing the way someone writes music. Really, if you're confident enough that what you're writing is going to sound just tits on any system it's very very likely to affect how much effort and work you put into what you're doing. Of course, this situation typically boils down into yet another money problem.
Maybe this sounds like I'm saying you simply can't make incredible music without lots of money. You'd be wrong of course. There's always going to be the xKore's of the world who seem to have the staggering ability to orchestrate immensely powerful works of art with likely a very modest reference setup and minimal hardware. Such an area (however) has already inherently avoided 2 of the major problems I described. First, most stuff like that has no singing or very few live instruments. Second - software synthesizers now are able to side-step a pretty major portion of that second issue I described if you stay mostly within that realm of instrumentation. Third, some people just have a sense for how to make something sound "right" without necessarily having the most accurate setup available. Voila! You have an approach that affords some pretty formidable demo worthy pieces without the investment of too much money. xKore (as well as a great deal many other artists on this site) follow this recipe.
I'm sure for every other situation this probably sounds like I'm trying to equate expenditure of money to how creative your music can be. And to that, I would say "abso-fucking-lutely". The music I write now is not better than my old stuff because I'm magically more talented now than I was years ago (I'm not). It's because I have equipment and software that is light-years beyond the meager crap I was using before. Were you to tell me I have to write music from now on using the GM sound banks I used to use 10 years ago and I would literally just not write music anymore. Seriously, I wouldn't. Because it would suck and I would know better. If I had $10k right now that I could blow on anything... do you know what it would be? Audio engineering equipment, every last fricken dime of it.
At 1/15/12 02:06 PM, AeroMusic wrote: Oh wow, that's amazing thanks!!
I didn't notice that the Pro 24 in america is actually the same price to the 14 in england! Thats like 50 pounds difference omg thanks so much you've been a great help :D
For sure bro, keep us updated with how you like the new interface when you get it.
At 1/15/12 12:41 PM, AeroMusic wrote: ahh thanks yeah I saw somewhere that it didn't matter that much, but anyway I think the 24 is a bit too expensive and I would have to get a firewire input card thingy for my comp which is like 230 quid.
(I'm thinking about this one)
On the Saffires it says they have 24bit, 96khz while the Roland bosts 24-bit/192 kHz - naturally I would expect the higher hertz the better, plus I haven't many sockets so bus powered is alot better for me.
Higher sampling rate does not equal a better interface at all lol (recording @ above 44.1khz is really pretty much useless unless you are actually analyzing ultrasonic sound signals). Countless hit records have been done @ 16bit/44.1khz. If you believe you're better than Michael Jackson I guess you believe the sampling-rate hype for that extra 1% performance (still a myth though). You can get a firewire card for like $10 on ebay:
With the current exchange rate... that Roland is already more expensive than the Saffire Pro 24 with a firewire card.
At 1/15/12 12:08 PM, AeroMusic wrote:At 1/14/12 06:27 PM, BrokenDeck wrote:awww sheeeet. :( I need a USB cause I'm on a PC or I could get a firewire PCI card adapter ughhAt 1/14/12 06:08 PM, AeroMusic wrote: Just another question:Yes.
does it matter if it's USB 1.1 or 2.0 - will there be less information therefore lower quality?
USB 2.0 has a much FASTER transfer rate and broader bandwidth than USB 1.1
thanks alot guys- and did you mean Saffire 24? or 40, I couldn't find a 10 and I'll probably end up with the 24 tbh
USB 1.1 is fine for 2in/2out @ 44.1khz (many older consumer interfaces used usb 1.1 with no problems at all). USB 2.0 will handle more than 2i/o full-duplex but then pretty much any interface that is new is usb 2.0 anyway so you don't have to worry regardless. PCI firewire cards are crazy cheap and will work fine. The Saffire Pro 10 is discontinued but the Saffire Pro 24 is a very good option.
Find a mentor. Yes, I know it's harder than it sounds, but serious - find a mentor. Music production is a craft that you can just piss endless amounts of time away trying to figure out on your own the best way to do something (I did this for 12 years, and dear god could I have made ridiculous advances in comparison if someone had just been around to say "wait, what are you doing? No, don't do that, do THIS. And here's why..." etc.). Music schools will often treat you like a number and that can be a pretty blase paradigm to jump into. Better to already know your sh*t by the time you're there honestly.
Put ads up on craigslist looking for people to collab with. Do anything you can to find like minded people in your area to share skills/knowledge/production/etc. with. You will kick yourself if you don't do this, honestly.
At 1/14/12 02:18 PM, VGstudiosTeam wrote:At 1/14/12 02:03 PM, Decibel wrote: I'd love a sandwich, thanks.I'm not a woman.
i lol'd.
Figured I may as well respond to the thread here...
The microphone is important (to a degree), however the preamp is infinitely moreso. You'll see many a studio running $80 dynamics into $1k+ preamps all day long. I'd recommend this one if you're serious about quality but don't want to spend half a grand:
Studio Projects VTB1http://www.zzounds.com/item--STUVTB1
You'll definitely want a sort of intimate space to record vocals with as well. You can buy some foam to put up in a corner of the room to set the mic close to while recording or you can try on of these types of things:
You'll definitely need a pop-filter. Even with a dynamic mic I wouldn't do without one.
Really though - in the post-processing area it pretty much all comes down to compression. You typically have to just compress the hell out of vocals for them to work (often, there are many exceptions but they make the actual part of recording the vocals very difficult). I would definitely high-pass filter around 40hz minimum for any vocal track (Thriller EQ is amazing for this). Thriller EQ also makes a good character EQ. Have the EQ before your compressor(s) in your fx chain. A little saturation also goes a very long way with vocals as well. Throwing a plugin like FerricTDS as the last effect on your vocal chain is a safe bet.
Reverb is tricky, I would typically lean towards a plugin like RP-Delay with a dense vocal delay setting vs. straight reverb (wash-style reverb tends to make vocals/voice seem less prominent and reduce the apparent presence). Getting the vocal part to "pop" in a mix is really the key. I usually end up doing a short early-reflections style delay with a touch of mid-rangey room reverb (short RT60 time with low diffusion) for most vocals.
Gating is always good (this will be the very first plugin in your vocal fx chain). Normally you'll want something like a 2ms attack, 100ms hold and maybe 60ms release and a threshold that still allows subtle amounts of breathing to be picked up so the voice doesn't sound unnatural.
De-Essing is a mixed bag. It can be effective but only if you're getting crazy strong sibilants with the material. Too much de-essing will make the person sound like they have a lisp which is really pretty much worse than lots of sibilant noise. Try eq first (always).
Focusrite Saffire Pro 10. It's a pretty nifty interface. Very low latency and ultra stable. Tons of configurability and 8 mic pres.
Click to listen.
shut yo face
At 12/22/11 12:20 PM, jpbear wrote: Josh you're 26 not 55. Act your age!!
haha damn skippy but I'm not sure what you mean, I use hardware and software...? Doesn't speak anything about a generation per say.
oh &
@ midimachine: yeah technically the response to jarrydn was facetious of course in that it was specifically aimed at if he was referencing using a computer in some respect but my response to The-iMortal was legitimate. Also, half the posts on newgrounds are completely obnoxious anyway but you don't see me complaining about each of those.
At 12/22/11 09:45 AM, midimachine wrote: hey cool it's that guy who only posts to argue semantics, what's up guy?
lol what's up bro XD
At 12/22/11 10:08 AM, wildfire4461 wrote: Check out this video:
http://www.youtube.com/watch?v=Fb-_p2q90 PA
Preview to one he's releasing.
Damn, good call - posted that to my facebook. Everyone should repost that vid.
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