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noynekker

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  1. noynekker

    Just Another Day

    Bjorn . . . man, it's a beautiful thing to listen to . . . my favorite part is the strumming part in the intro, and I wish you got back to that somehow later, but louder as a theme development ? Regardless, it keeps moving along and painting different pictures as it goes . . . so nice, you're a very prolific creator, as I've noticed on the forum here, and I always like to tune into what you're up to.
  2. noynekker

    My Better Days

    Hey Grem ! Very nice to hear something new from you, HA ! wish I could "write songs at work" then perhaps it would be my job . . . it's a slowly unfolding groove, and yes, the way you kept it simple really worked for me, not a lot of rhyming overly poetic lyrics, but very much from the heart. Thanks for posting, going back for another listen . . . EDIT . . . on my second listen I think I got it more, and found it to be a powerful message for me, personally . . . thank you Grem.
  3. Do any DAWs do SysEx to Vsti ? I thought SySEx was just hardware synths
  4. CJ . . . well that's what I thought, but when I tested it, after unfreezing I see the Console Faders move down, but the Automation Lanes don't change. Automation read is turned on. I even tried to exaggerate it for the sake of testing, but same result. I'm thinking it's something happened in this particular project, because I tested again in another project, and it works as expected. Trying to find out why in this project the Automation lanes seem locked, with regards to freezing and unfreezing.
  5. Are Instrument Track Freezing and their Automation Lanes independent of each other ? ie. If I freeze an Instrument Track, then add Volume Automation Lanes . . . when I UnFreeze, do the Automation Lanes keep the volumes I added while they were frozen ?
  6. Well, I was transported back to Jean Michel Jarre, then dang me, ain't that a banjo appearing, huh, Jean Michel never did that . . . mmm, some Gregorian chant, then the metal guitars ? . . . OK, perhaps some genre confusion, but all good fun by the end . . . maybe the listeners are to blame for trying to pin it to something. I actually like near the start when the kick comes in, it's mid punchy and not boomy. "I've been working on something like this for weeks, I'll be as brief as possible" . . . HA ! I also appreciate how the drums become metal genre drums when the guitar cuts loose. My only mix critique would be when the metal guitar kicks in, it is so much louder in the mix that it really stands out, but maybe that's what you intended. I liked it a lot, though my neighbors were banging on the floor, they're obviously not Gothic appreciators. I also like that musically, it is a bold statement.
  7. Hey John Bradley . . . always liked this song, and you made an amazing version of it here. I can hear a lot of work went into this production, some great guitar wizardry. Nice that you've detailed about how it was recorded. Fooled me, I thought I heard a twelve string, must be in my head. Thanks for posting ! It REALLY is a great listen.
  8. Yes . . . I've seen this too, something is amiss with plugin recycling . . . doesn't work the way it did before . eg. I have to turn off plugin recycling to get my 2 (Ozone) plugins on the master buss to both come up together. ctrl+click will not allow both.
  9. noynekker

    ++++++++++++++++

    Allan . . . enjoyed this one ! . . . perhaps reminiscent of Moody Blues, or a laid back lounge version of Nowhere Man by The Beatles ? The vocals are very out front and clearly recorded, well performed . . . myself, I want to hear the instruments you have accompanying this somewhat louder, as I hear them clearly on a headphone listen, but at lower volume on speakers I find their level too subtle, especially with the traffic going by my window on a summer day I like the way the piano gets jazzed up near then end, it adds to the relaxation of the piece. The harmony vocal and chord change ups are also pleasing . . . nicely done !
  10. noynekker

    WATCHING YOU

    Hi Paul . . . yes, I still had to turn it down a bit to enjoy it . . . and I did enjoy it . . . dual harmony electric guitar solos ! Man I miss those so much in this modern stuff. The stereo guitar recording is classic. Great lyrics, if you hadn't mentioned "tribute to the eighties" I still would have recognized the lyrics as eighties, not sure why, but I'm old enough to remember I guess. It's also very well recorded, so much retro fun ! Muchos Contributatos !
  11. Mark . . . on my small speakers (small speakers matter !), I can confirm the vocals on this new version are much clearer, upfront . . . what you've adjusted makes a noticeable difference from what I listened to last night (which wasn't too terrible mind you) . . . I wish you much luck with your shopping !
  12. Hi David . . . I gave it another couple of listens with the ending in mind, and it seems to me near the end where it builds and gets higher pitched, there's an opportunity in the recording to get a fuller sound (ie. more low end frequency - give us some more lower cellos ?) The very end part sounds like it's intended to be a very quiet fade, I don't find it "strange" for that era. Overall, recording wise, if you could add some more extreme dynamics through the piece it would add a lot for the listening experience. So, you've taken a a guitar version of a romantic piano piece, and transcribed it for strings . . . quite the project. Much admiration for that, and I always like what you contribute here.
  13. Mark . . . collaboration with "ex bandmate Rick Kimbrough" ?? . . . you're still very much together on this one, acoustic textures among the best I've heard recorded recently. This song is so easy to listen to, like all your others. Thanks for sharing here.
  14. David . . . hopefully you're sipping some fine Pinot Noir (not that cheap other stuff) . . . it's a relaxing listen, introspective string piece. I tuned in late here, so I guess I never heard the ocean sounds you mention from an earlier mix . . . it sounds like you were trying to get more ambience or room to this mix, but I don't hear it here, and think it must be a very hard thing to do with just strings . . . ie. hard to know when too much ambience, or not enough . . . perhaps there is not enough percussiveness in a legato string piece to actually hear it . . . add too much and it would be swimming and distant. I think what you've done here sounds great on my speakers.
  15. Well, I would never Pan something while in offset mode, I've only used it for adjusting the levels when everything gets too loud. The fact that it was left on is a problem . . . I believe it's a global effect, and doesn't save with the project ? . . . not really sure. Now I've noticed a few other tracks don't seem to Pan properly, so hopefully I can get the mix done without having to start again. In response to your question, I did trying adjusting Pan controls in a lot of combinations, Offset On and Offset Off, but some tracks seem to have got Pan corrupted, can't really figure it out . . . they just don't operate normally.
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