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You might also like Redoptor by D16, it's like a multiband tube distortion emulator and it sounds pretty unreal.

At 5/6/11 02:34 PM, Spikrodd wrote: that'd be unnecessary. If you use FL Studio, you can switch through time signatures through the 'beats per bar for this pattern' thing. I use it all the time for songs I never release because it's hard to get time signature swaps to work seamlessly :P

I already told him that and he said he didn't want to so he's shit out of luck :<

inspired yet?

I won a whole bunch of stuff in 2009. Favourite synths are:

Unique (by Sugar Bytes)
ASynth and Taurus (freeware by smartelectronix)
Synth1 (some guy, also freeware)
Fabfilter One
WASP XT

but I'm not gonna list all of them cause it's too many. I tend to prefer really simple synths with a distinct sound over gargantuan synths that can do everything except make toast for you. I've also got a bunch of old drum machine emulators and a 303 emulator made by D16, which are really fantastic!

Snap up Ohmicide as soon as you can, Jarrydn. So good for really nasty leads and reese's. I love it. OhmBoyz is a fantastic delay plugin too, OF just make fantastic stuff all round.

Every Day I Draw a Dick

http://everydayidrawadick.com/2011/05/06 /sick-dick/ (NSFW)
3 days in a row now, despite feeling like shit for the last two. I can probably do this!

Honestly man I don't know why you'd need to do that other than for convenience for seeing where bars line up, but I guess you could just write the track in different files.

At 5/6/11 03:08 AM, PainasaurusRex wrote: Okay, I got a question.

What about changing only in terms of feel. It's still the same time signiture, but changing the feel from 6/8 to 6/4 is easy. Though you can't (as far as I know) achieve a time signiture change in FLS 8, I can change the feel.

You've been able to change time signatures since FL 4. Every pattern can have it's own time signature, if you look at the top left of the step sequencer window there's a little display that says "--", you can drag it up and down to change the length (time signature!) of that particular pattern.

I don't think you can change the project's general time signature though, which is kinda annoying but hardly a deal breaker.

I love both bare-bones minimalism and unrelenting noise/technicality but I have to be in the right mood for either.

My own writing tends to fluctuate wildly between the two depending on my moods, too.

At 5/6/11 12:00 AM, jarrydn wrote: $215 for enclosure, PCB, and full complement of components (including the OPL3). Bargain!!!

Didn't check the link yet, but how many are available?

At 5/5/11 09:12 PM, Gario wrote: Ich, I really hope people aren't zero-bombing him for this.

I gave the song I listened to 0 because, frankly, that's what it was worth.

Although on the merits of trolling i really should've given it a 3 or 4.

how can this guy not be a troll?

listen to his latest track from 0:50 onwards, it's fucking hilarious.

My submission so far is at a dead end until I can sing again... AUGH sore throats suck.

http://www.youtube.com/watch?v=OisvnSaHb RU (NSFW)
0:28 onwards Might be what you're looking for?

At 5/5/11 08:54 AM, Bjra wrote:

At 5/5/11 08:48 AM, midimachine wrote: HEY GUYS i made a blog/webcomic lol

http://everydayidrawadick.com/ (NSFW)

I dare you to do this for a whole year straight. It will go viral

I'll try doing this for the rest of my life.

I was able to do this for nearly 3 months a couple years ago, if I get a moderately sized following that I actually know is there it'll be easier to keep going cause I hate letting people down!

HEY GUYS i made a blog/webcomic lol

http://everydayidrawadick.com/ (NSFW)

heeyyyyyyyy, dr dre isn't a real doctor! what a jerk!

Instrumentation is very important for a mix in any genre. Actually "clutter" sounds more like a word I'd associate with arrangement than mixing.

Also I feel compelled to apologize to everyone for my antagonistic behaviour itt; I'm not normally that arrogant or disagreeable, especially not in person. If you give me a minute I can make up one of a myriad of excuses, though!

Keep us posted man. The whole "EA Trax" thing a while ago had some interesting potential but kinda fell flat.

Slightly unrelated, but I'm pretty sure Rob Hubbard (i.e. the legend of SID music) works for EA as a music consultant/director. Classy!

• 
  Stratosphere (PO3) by midimachine

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  4.27 / 5.00

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posting that cause it's called stratosphere and your game is based on skyroads haw haw

I'd be more than willing to make a few songs specifically for the project, I can do pretty much any style or genre but I'd say I'm most adept with melodic, upbeat and progressive electronic music.

SkyRoads was an awesome game, btw. I prefer it to Audiosurf even, but mainly for nostalgia ;)

If your PC's sound driver recognizes it and it works in Audacity then it should be running under your primary sound driver, either as a separate input in ASIO4All or as the default input (overriding your line-in, I'd imagine).

USB microphones and headsets drive me batty with their wacky sound drivers and integration :<

Welp, was gonna record vocals today but my throat's sore and closed up from spray painting game boys all day yesterday. fffff.

hey guys how do i get my song to sound like it's played through a radio?

like, in other words, a radio effect?

Or using huge instruments like PRIZM, heh.

At 5/3/11 11:05 PM, jarrydn wrote: Was thinking of going i7, but there doesn't seem to be much point. Anyone care to sway me?

If nothing else, get the i7 just for the sake of futureproofing/longevity.

And is it better to have the bassline on the same piano roll as the melody or a separate one?

Writing the bassline in the same pattern is fine, but I find it's better to cut and paste it to a separate pattern when it's done just for versatility's sake.

I probably skimmed past that detail. Force of habit.

Okay I read some of your words and they were soooooooooo interesting, but my opinion is still fact.

Fuck E-prime.

At 5/4/11 02:03 AM, joshhunsaker wrote: lots of words followed by
Also, your first use of the acronym "i.e." (latin for id est) was wrong. WRONG. Look it up. :)

Oh no, lots of words and a typo! I guess reverberating bass is a good idea after all!

Oh, and if you really need a definition for those ""vague" terms:

Mud = Dissonant and/or loud sounding low-mids and mids.
Air = Presence. Sibillence. Just a bit of soft, understated treble or hiss.
Edge = Distorted high harmonics (16th+), with relatively clean fundamental and lower harmonics.

In my opinion/experience, anyway. Correct me if I'm wrong! :)

At 5/3/11 08:51 PM, joshhunsaker wrote: Why do lower frequencies become "less and less discernible"? That doesn't make any sense. I can hear 80hz vs. 120hz vs. 240hz vs. 480hz all the same. Anything outside the audible range (30hz - 16khz) is of course "inaudible" by definition but I have no idea what you're talking about otherwise.

It's just physically more difficult to discern pitch at low frequencies (i.e. <80Hz. 240 and 480 are NOT low frequencies, by the way).

Nothing sounds as clear and pronounced with reverb on it. That's what reverb is good for.

I... I just don't know where to begin with how wrong this is. This statement alone is explanation enough for why you just don't understand what SBB, Chris and I are getting at.

Beyond a number of milliseconds the feeback delay becomes an actual delay. It doesn't cause phasing issues.

Beyond ~21ms, and you're not safe from phasing just because your delay is longer than that. Think about it logically; it doesn't matter when the next iteration happened, depending on the waveform the two can still come together in a way that creates a comb effect. The main problem with reverberation on bass is that it spreads bass frequencies out across the entire stereo field.

Stereo bass is awful for people wearing headphones. Our brain isn't wired to percieve the direction of incoming bass sounds, mainly because the wavelengths are longer than the space between our ears. Having bass in just one channel confuses the listener's equilibrium and makes for uncomfortable listening. Having bass in both channels, but seperated or widened over the entire stereo image has the same effect as moving the bass quickly between one speaker and the other, because, unless the bass is at the exact same volume and phase in both channels (i.e. mono/centered), those long wavelengths are going to be affecting each ear in a way that the brain can't deal with properly.

Sure, you can still use stereo bass for effect but you have to know what you're doing, and even then it will still be unsettling and hard to listen to in headphones.

I don't know what "mud" means any more than I know what "air" or "edge" sounds like in audio. It's ultra vague. I've put reverb on lots of bass instruments and it sounds nice. There are plenty of times I didn't think reverb sounded appropriate and none of it was based off of whether or not there was lots of low-frequency spectra.

I can tell you for a fact that the reverb you used on those bass instruments either:
1) Only affected the transients (i.e. the attack of the sound) because of built-in EQ
2) Made sense because of very specific circumstances (i.e. specific to genre, song structure etc.)
2) Sounded really bad, but you were okay with it.

It was based off of how it fit into the mix (as I mentioned - this is why I don't believe in hard/fast rules for mix production). If it sounds good, that's really all that matters and people can hate you until you die for doing things the supposed "wrong way" and getting great results. That's what music is about. Breaking "rules" and ideas of "how things should be". That's why we have rock'n'roll, overdriven tube amps, gritty waveshaping distortion fx, and crazy movie sound fx.

If there were no rules to begin with, there'd be no rules to break. Besides, the now long-forgotten OP is someone who is clearly not ready to start putting his own spin on mixing standards. If you would like to be completely ignorant of (very helpful) "rules", you are more than welcome to. But don't try to stunt someone else's growth with pointless ideologies.