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71
Music Gearheads Tech Talk / Re: TC Electronics' reverbs
« Last post by Castleview on October 24, 2017, 07:01:40 AM »
Thanks for those suggestions. I didn't even think about that panning technique. I know Robert Rich used to take two versions of the same texture and detune one of them slightly, but I wouldn't have thought of panning. Maybe I could play around with different levels of delay layered together as well, maybe some super subtle modulation.

You just spurned some new ideas.
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Forum Member Projects News and Promotion / Re: Some ['ramp] and Parsick news
« Last post by doombient on October 24, 2017, 03:47:55 AM »
German radio DJ Ecki Stieg of the famous Grenzwellen programme will be featuring my work in his next show on 25th October between 9pm and midnight (EST):

http://radio-hannover.divicon-stream.com/

Of course, the interview will be held in German (which might sound a little funny in places).

Thanks for tuning in. Enjoy!

Stephen

PS: There is also a fundraiser going to help Grenzwellen to remain an independent source of information. You can donate here, if you wish:

https://www.leetchi.com/c/projekt-von-grenzwellen

Thank you for your support.
73
Music Gearheads Tech Talk / Re: TC Electronics' reverbs
« Last post by Seren on October 24, 2017, 02:04:30 AM »
Good to hear you are enjoying the m300.

You might be able to 'extend' the reverb time if you set the time for max, but half the depth/intensity etc parameters, record it wet, record that back through the same settings a second time and then play with the dry and wet/wet track balances - you could try a slightly different reverb setting on the dry to merge the sounds together.

another idea that can work well is to record 2 different versions of similar effect and then play them back with each off centre - so panned somewhat left and right in stereo field.
74
Art and Literature, Movies and TV / Re: Blade Runner Sequel
« Last post by chris23 on October 23, 2017, 04:38:34 PM »
I was blown away by it. I was expecting to have all the trappings of a Hollywood sequel. But everything about this was fantastic (no spoilers): The non-rushed pace, the visuals, the atmospheric music, the technology, and the story.

As far as recent sci-fi films go, I think Arrival takes the lead. But BR 2049 was excellent.
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Art and Literature, Movies and TV / Re: Blade Runner Sequel
« Last post by APK on October 23, 2017, 12:32:23 PM »
Very much enjoyed it, except for the over the top soundtrack in a number of places.
Great visuals. Nicely obscure plot. Recommended.
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Art and Literature, Movies and TV / Re: Blade Runner Sequel
« Last post by Lepley on October 23, 2017, 11:45:14 AM »
I can't recommend Blade Runner 2049 enough. Great movie, especially if you're a franchise/genre fan.
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Music Gearheads Tech Talk / Re: TC Electronics' reverbs
« Last post by Castleview on October 23, 2017, 11:14:27 AM »
Been meaning to give some more impressions

I'm using the M300 quite regularly nowadays. I really like the delays and the vintage phaser. It's a versatile FX processor for sure. I don't regret buying it.
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Now Playing / Re: Dance/Electronic Genre
« Last post by petekelly on October 23, 2017, 08:29:27 AM »
Wondering why you are sharing this with us - perhaps you could share your favourite ambient works instead ?
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Music Gearheads Tech Talk / Re: Drone/pad EQ-ing.
« Last post by Castleview on October 23, 2017, 08:11:32 AM »
Cutting mids is fine as long as you don't overdo it. Too many mids can muddy the sound very quickly.

Removing resonances isn't really a must but it can help. I do it quite often but there's no rule saying you can never use resonance when filtering your drone textures. There aren't too many rules to making drones except for the basics like monitoring the frequencies and like APK said, making it sound good.
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Music Gearheads Tech Talk / Re: Drone/pad EQ-ing.
« Last post by APK on October 23, 2017, 08:05:39 AM »
Hey there.
I think you are onto the main problem, which is resonance, a sharp build up at a particular frequency. I'm always notch EQing them down because they will remain annoying otherwise. A dynamic EQ can be useful, but regular notch works of course. Beyond that, how I would EQ a drone depends what is sitting with it, and where it is good to leave some space for other sounds. For which there is no real formula. Drones and pads can vary greatly, so it is more a case by case issue. One good trick is to turn the thing up loud. Does it still sound balanced and listenable.

Often I will EQ a drone to shape its spectrum. Lower some frequencies and bring up others ... maybe to add a bit of brightness to the high end or cut the boominess in the lows. But as I say, on a case by case basic.

As you say, getting it right when selecting initial sounds and layers is very important. But in my experience some EQ will usually be needed to balance things later on. EQ is such an important weapon.

Because our ears and mind get tired and a bit untrustworthy, I will always park a finished piece for a week or so, then come back and listen it more objectively, as though it were someone else's piece. And listen for anything annoying. Then try to correct it. This will primarily be an EQ job, and some related volume balancing.

Conclusion :  For me there is no one way a drone (or pad) is made or should sound. But there are technicalities and aesthetics of music that should be observed. Which means: It should sound good. If it doesn't it needs work !  :)
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