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Messages - Ekstasis

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721
Music Gearheads Tech Talk / Re: The Black Hole Reverb
« on: January 30, 2009, 08:33:22 PM »
Have anyone tried the Acousticas Impulse reverb, from the Lexicon 300 unit ???
http://www.acousticas.net/

On certain "audiophile" forums this is regarded superior to other impulses on the market...

722
I'll jump in ... Immersion,  they are a couple of Korg Kaoss Pads, looks like version 1 and version 2.

ah ok I think Steve Roach did mention he used some of those. But the one I remember is Red and black ?
I guess that is a newer version...

723
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: January 29, 2009, 09:07:05 PM »
I recently got Omnisphere as well.  It's interesting how Atmosphere had a "sound" to it, and I find that Omnisphere has it's own "sound".  I agree that a lot of the patches are too complex/busy to write music with (Atmosphere had the same problem), but I use them as a base and edit them to fit my needs.  Also, heavy reverb will smooth out the sharp parts.  The hard part is trying to make it not sound too much like Omnisphere, which I usually fail at.  haha.  Oh well, fun synth in any case.

Yeah, the presets are way too processed, but correct me if I am wrong, I think that all the sound processing in the presets is done by the STEAM engine.
I think you could in that case disable all sound processing... and get access to the pure source sound...
For me only the source sounds is of interest, from the source I want to create my own sounds...
Yeah the reverbs are good in Omnipshere, unfortunately there is only 2 reverb types to choose from... but they sound smooth, but I will most likely prefer to use an impulse reverb instead...
As always with digital synth you need to process all the audio through analogue simulators like PSP VINTAGE WARMER 2 etc, this will in general cutt off most of the digital edges and produce a more warmer sound.

Spectrasonics has also promised that you will be able to import own wav files into the steam engine in future...



724
I did really like "dead of winter" thank you...

Out of curiousity, what are those touchpad devices to the right on the picture ???
They look interesting :)

725
I have never actually had the opportunity to listen to a professional sound system..besides my headphones which is of studio reference standards...
But it is way more demanding to get a good sound with a speaker system, it cost many times more, and you also need a room directly adapted to your sound system..
But I still feel you come closer to the music in headphones, it is like it does echo inside your mind, the music have a more subconscious presence in your mind, I think it is hard to get that same experience with a speaker system.

I have always wondered what it would feel like, to perceive sound waves through the wind, sometimes while I am standing in the forest against the wind, I do in my mind I hear distant music in the wind......I would wonder what it would feel like to feel the pressure of sound waves touch you... while you feel totally absorbed in sound waves and they massage your body...

726
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 29, 2009, 12:08:49 PM »
Immersion said: "one thing for certain is that it brings "clarity" into the mix, since you hear the whole dynamic range more clearly..."

I wouldn't say this is certain. The perceived clarity is perhaps simply a result of a volume increase. If compression reduces the dynamic range then its not adding clarity. 

I do quite a lot of mastering, and I'd say that a bit of well-placed EQ work brings clarity to a mix.

I use compression very sparingly.
But I do use a good EQ quite a bit.
And I find that a good visualization plugin is absolutely essential to mastering.



Yes but what I mean is the result of the reduced dynamic range, makes the lower dynamic range more clear and audible, sound you would not maybe even hear before in a full mix... otherwise the higher dynamic range will overlap the lower dynamic range. So for me it does definitely give a certain clarity in the full sound spectrum....
This can be very useful for certain sounds in the mix, but to use it on the full mix..that is something totally different...

But when we speak about mastering and add it in the end of the sound chain... I think you should be very careful in ambient music...I am pretty sure that masters like Steve Roach and Robert Rich all use the reverb unit in the end of the chain.


727
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 29, 2009, 11:27:06 AM »
Compression can be very useful, and in fact I incorporate compression often, both in the creation of my own recordings and the mastering of other people's recordings.

But the notion that compression automatically makes things sound "better" is nonsense.  In many cases it can make things sound worse.  It's nothing more than a tool to change the relative dynamics between loud and quiet parts in a given segment of audio.  Used casually, compression is more likely to screw things up than improve things.  I've screwed up a master more than once by getting too compression-happy, and ended up going back to pre-compression version of the master and trying to solve the level or volume issues again some other way.

I think there is  no right or wrong, in the end...it all comes down to personal preference and taste...  It all depends on context and how you use it, if we speak compression in an mastering or mixing context, it is completely different..
There is both good and bad things about compression, but one thing for certain is that it brings "clarity" into the mix, since you hear the whole dynamic range more clearly, but yet less dynamic... As I see it a lot of music today is totally destroyed in the mastering process, where they compress everything to the max to get the extra "boost" or "power".  Metallica's "Death Magnetic" is a good example sounds like total crap.

728
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 29, 2009, 11:20:28 AM »
"Redline Monitor makes mixes sound identical on speakers and headphones."

Has anyone of you tried this ???

From their page:

Quote
Its proprietary algorithm performs a sophisticated combination of filtering, frequency-dependent delaying, mid/side processing, and room simulation to create a convincing acoustic soundstage that allows you to properly localize sound sources.

I would never use it, it kind of defeats the purpose of mastering, you don't want to add anything to simulate what you might hear and to then make corrections, you want to actually hear it for real and then add corrections.

Most mastering engineers I know say the most important tools the mastering engineer has are their years of experience followed by the sound of the room he/she uses.

As for compression I don't think its really needed that much in most ambient music, maybe a bit of limiting to make sure their are no overs of the digtial signal. Compression is over used in most popular music, I think its best to stay away from it for the most part.

While I have not tried this enough, I think REDLINE monitor might be less suitable for ambient music. I think the Red line monitor itself is based on an Impulse reverb. I tried my latest recording which use a lot of reverb, the reverb sounded not good at all through the plugin in headphones... The bass resonance/feedback was way higher then without the Redline Monitor.  Bass bass resonance/feedback I think is the biggest problem when you mix in headphones, it is very hard to hear and detect, to detect it you must most likely use some kind of visualizer.

729
What is the ultimate way to experience ambient music if you have a choice ?
If you have any more option you want to add...please tell me...

My choice is Headphones...


730
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 28, 2009, 10:19:35 PM »


"Redline Monitor makes mixes sound identical on speakers and headphones."

Has anyone of you tried this ???
It might be useful... if you as me mostly use headphones...but not sure how well it does reflect the reality...

You can download it try it for free for 60 days!

http://www.112db.com/redline/monitor/

731
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 28, 2009, 12:37:50 PM »
Well, I wish there was tools directly made for ambient music and where the extreme volume and power is not in focus...but the sound quality...
In popular music today there is a competition in who have the loudest volume and much power in the mix...while this sounds good in some music
I think in general that we overuse it a lot...

Personally I sometimes use very mild compression with maybe a maximum threshold of -3.  Compressors do not only add increased volume but they could also
add improved sound quality and improved mix in general...this is what I like about for instance Waves L3.
You could do it backwards also I guess, using a limiter or in other ways make sure the volume level does not get past -6db during recording,  then afterwards you can  normalize to get a better volume level while you still the dynamic range remains unchanged. 

Another question is where in the chain the reverb should be added...it might sound best if you put it in the end of the chain on the master bus.
Depending on what reverbs you use and the quality, but for instance pure an genuine reverb algorithms from Lexion I am sure sounds best "untouched"
without any compression that does distort/dissolve the reverb algorithms.
Other less powerful reverbs might sound better if you use various audio processing tools to make it sound better...

732
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: January 28, 2009, 08:49:42 AM »
I wish Omnisphere had no presets at all.
I think the menu "get a tate of omnipshere" is enough...

Robert Rich did prestes for camel audio in the past, for the synth Cameleon 5000.
Not sure if he did any for Alchemy.

733
Other Ambient (and related) Music / Re: R.I.P. - Klaus Wiese
« on: January 27, 2009, 09:00:00 PM »
Very sad news, I could not believe my eyes when I saw this :(
What an tragedy :(

R.I.P Klaus

734
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: January 27, 2009, 08:57:58 PM »
I have tried Omnisphere today, the presets are kind of useless as usual atleast for music production, I am sure it fits better in film/media production, what I waste of time of Spectrasonics to make so many presets, instead that they should have put more energy to improve the ability to create OWN sounds within the Steam engine. However the Synth possibilities
is still very good, you can modulate/morph the sound in many many many ways. The filters sounds awesome.

I did a little ambient recording if anyone is interested to hear...
http://www.mediafire.com/download.php?tz3n5kje4nw

And excuse me of the click sounds, I will buy a new soundcard next month :)

735
Music Gearheads Tech Talk / Ambient music and Mastering
« on: January 27, 2009, 08:38:41 PM »
Yes mastering with Ambient music is very different to other music. Please feel free to share your experience on this...
Personally I am still learning, I am very careful with using traditional mastering compressors such as L3, since they do take
away a lot of the "space" in the music. Ambient music is especially sensitive since it is often include a lot of reverb/space.

The Volume level is always a problem when you mix down, it usually sounds good in your DAW, but then in your media player
you notice the volume is very low, normalizing audio does not always help...

Around -8 db to -3 db I think is a good range for ambient music and where the sound sounds best.

I have yet not tried many mastering tools that works good with ambient music.  Usually analog  based mastering tools
does best, since they add warmth to the sound and do keep more of the dynamic range.  They do often color the sound and are not always as transparent.

736
Other Ambient (and related) Music / Steve Roach News
« on: January 24, 2009, 12:42:32 PM »
I will continue to feature selected �releases from new and established artists which I find find ear-opening.�A new release from a unique duo, Lapis Ensemble, deserves your attention. Please read more about this below. �

For nearly three years I have been working on�Dynamic Stillness. This �2-CD�solo release of all-new pieces� is �coming in a few months on Projekt. It inhabits the Immersion, Mystic Chords and Magnificent Void dimensions, but deeper and further "inside".�These�are the� places I �love to live within,�and lately I've been in full habitation mode with these pieces�and their�progression�for months. I look forward to sharing this "Stillness" with you.�The official release date is April, but we will have copies at the site before then. Please stay tuned...

There� are already a� few new Timeroom Editions releases� cued up and in production, one of which is� "Destination Beyond". This� takes the momentum of Arc of Passion and Landmass� in to� the studio, resulting in a single�70-minute road trip to the next place at the next horizon.�

I will meet you there at this next horizon, and from that point look towards the next one. All the best for '09 and again, thank you for your continued interest and support of the music over the years. �

Steve Roach

737
Other Ambient (and related) Music / VOID OF SILENCE - Human antithesis
« on: January 20, 2009, 09:38:00 PM »
I can really recommend this album, emotional doom metal mixed with sweeping ambient soundscapes...

www.myspace.com/voidofsilence 

738
Other Ambient (and related) Music / Re: Steve Roach Starting Point ?
« on: January 20, 2009, 01:39:11 PM »
Hehe lots of competent information here :)
Well I ordered the 4CD box Mystical Chords and Sacred... and the 3 immersed volumes and Possible Planet as a start (but after listening to some samples)
I guess you can't do lots of mistakes with his music.
Let's hope they arrive soon

Well, since I assume you prefer his "atmospheric space" style..you have made a very good selection!

I am very eager to see what Roach will release this year.... his music is like a drug really..can't get enough of it...
I guess he could release a new album each month if he wanted too..but I think I read somewhere in an interview..that he has set
an policy to not release more then 5-6 albums per year..to avoid quanity instead of quality...
However..I still think he should do as Robert Rich has done recently, he has begin to release "internet only" releases...
Might be a good idea for Roach aswell..

739
Other Ambient (and related) Music / Re: The Foundry: Closed
« on: January 19, 2009, 09:46:27 AM »
Not sure...what releases it was on the label...but the Seafon album is amazing...

740
http://steveroach.com/Music/discography.php?albumID=415

Can't stop listening to "Divine Innermission" ...

SPIRIT DOME returns with a perfect companion, LIVE ARCHIVE. Two out-of-print releases from this acclaimed ambient duo are brought together in this value-priced 2-CD release. Living proof of the power of live performance, these recordings are so immediate and engaging it would be easy to assume they were crafted over months in the studio. LIVE ARCHIVE, from their 1997 tour, serves as a natural complement to 2004's SPIRIT DOME, recorded live to stereo master in one take in a studio-like environment. LIVE ARCHIVE was originally released as a small run on the Groove label in Holland, and has been out of print for several years.

Steve Roach / Vidna Obama's 2002 CD INNERZONE served as the doorway to the surreal environment explored on SPIRIT DOME. Recorded in one continuous 74 minute session in a hotel room in Philadelphia, this is a dark sanctuary of pure texture and beautiful, if foreboding, dissonance pulled along with pulsing beats, subtle loops and dense soundworlds. The track captures a chilling gothic ambience that offers the exploration of remote psychological states of awareness. This is achieved by way of extensive live processing of instruments including fujara (overtone flute), guitar, and the seemingly bottomless wellspring of electro-acoustic sounds found only in the duo's soundscapes.

LIVE ARCHIVE, on the other hand, collects peak performance moments of pure energy and emotion from the duo's live adventures in Europe and the US. The wide range of venues, traveling to various countries, and above all their first tour together fueled their mutual intentions, challenging the artists to create music that does not know the limits of jet lag, equipment failures, and physical demands which occur when leaving the sanctuary of the studio. The sound is steeped in their tribal-ambient period. "Verucchio Invocation" opens the CD, recorded in an Italian Roman-era open amphitheater under the stars, and the experience evolves from this exotic moment.

The artists write: "While our experience reached a level of spontaneous interaction in the studio, it was an entirely different dimension when performing live on stage at a specific moment in time. It was as if we were communicating with each other blindfolded, focusing entirely on the sound appearing in the moment and being exchanged back and forth while the energy of the audience and the space helped feed the process. Although we briefly discussed the structure of each concert, the magic simply came alive when we took the live performance map outside any form of logical preparation, relying on our mutual passion and instinct for traveling in the soundcurrent."

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