Jump to content

Amicus717

Members
  • Content Count

    353
  • Joined

  • Last visited

  • Days Won

    1

Posts posted by Amicus717


  1. Just great. Really like everything about it -- love the arrangement; Mrs Daryll1968 sounds just great, and is perfect for this piece of music. Mix sounds great on my monitors and headphones. A really fun listen. 

    Also, the video ads a lot to the overall vibe. Really nice stuff.

     

     

     

     


  2. Hi treesha,

    I enjoyed this one. Nice sounds, and a good mix - I could everything cleanly, and the balance is nice.

    I'd call this a hybrid type piece for sure -- the kind of piece that could play over a montage in a movie or similar. From that perspective, the drums as currently recorded would work just fine, to my ears. 

    Rob


  3. Hey Wookie,

    Like this one a lot. 

    In regards to the vocal parts, I kinda like where they are currently situated in the mix -- sort of deep inside the soundscape and haunting the music, rather than leading it from the front, so to speak. I think that kinda matches the vibe of the music overall, and I think it works. Just my five cents. 

    Rob

    • Thanks 1

  4. This is a really good song. Nice vocal work, also. Really enjoyed listening to it. 

    The one element that didn't really grab me was the drum sound, in particular the snare - a little too thin and kind of anemic, or something. That's just a personal matter of taste, though.  

    Rob

    • Like 1

  5. Hynpotic and fascinating all the way through.

    Like Tom, I found the second half more arresting and more unpredictable, which is an element I really enjoyed. But overall, very nice work. I'm curious if you composed all this on paper first, or it came together during the recording of the parts, or how you created the music. 

    Thanks,

    Rob


  6. I liked this a lot. Very nicely put together. The soundscape is huge and all-encompassing -- which I like -- and despite the large number of instruments and the complexity of the arrangement, I thought I could hear all the details. I particularly liked the guitar sound that entered at 4:45 - really nice.

    Rob


  7. Kaustub, I think that's pretty well done! Your music is synced beautifully with the action; didn't override or otherwise obscure the essential audio ingredients of the clip; and is present enough to set a tone but not so forceful that it intrudes. 

    Rob

    • Thanks 1

  8. Hi folks!

    Wookie - Thanks! Yeah, I think there is a bit of mud in there, for sure, and I want to clear it out without gutting the impact of the piece. I will experiment!

    Treehsa - Thanks for the kind words, appreciate it. I've always understood this kind of stuff -- orchestral in general tone and scale, but employing a lot of synth and sound-design stuff -- to be classified as hybrid orchestral or hybrid-symphonic and similar. Seems to define it pretty well :)

    Deering Amps - Thanks! Appreciate the listen and the kind words.

    emeraldsoul - Thanks, and appreciate the kind words and the input. I think adding some more high sparkle would potentially be very helpful. As for the violin (it's actually a fidule -- a medieval/Renaissance progenitor of the violin), yeah I've been wondering about its placement in the soundscape. It does have a fair amount of reverb applied in the mix, but it's a very dry sample library and tends to stand way out front. I sort of like that, actually, but also wonder if I need to tame it a bit. I will experiment. 

    bjornpdx - Thanks for the listen and the kind words! Appreciated, as always. Yeah, Eduardo's libraries are flat-out awesome. I use them a lot. They are geared for a pretty specific kind of sound and vibe, but they excel at it. They are well built and well-designed, but you will need to learn how to work his libraries, as they have have a LOT of details and quirks, and are loaded with ways to tailor the sound: finger noises, instrument noises, fret noises, etc, -- all which can be turned up or down or off, depending on what sort of vibe you want. Plus, the patches have all sorts of keyswitches for different articulations, accents and ornaments, etc. I cannot recommend them enough, but you gotta take the time to learn them if you want to get full value out of them.  Also worth noting that they run in Engine 2.0, as opposed to Kontakt. Some folks don't like that, although I personally have no problem using Engine. It has its quirks, but I don't find it any harder to use than Kontakt, and I like it a lot more than Play. As always, YYMV :)

    Thanks for the input, everyone!

    Rob 


  9. Hi folks,

    Here's a new composition. It is a bit of a departure from my usual stuff - this is more of a hybrid-orchestral piece, and it's something of an experiment, and a rough draft that I'm still working on. 

    The music is a gift, and is being written for a friend of mine (the "Bjarn" in the title, of course) as a short theme/motif for a Norse persona he portrays in a historical re-enactment society he belongs to. I am trying for a sort of dark ages/pagan vibe -- think of it as the sort of scoring you'd use for a stormy sea voyage in an epic movie about Vikings, or similar:

    Part of my interest in writing this was to explore the Dark Era library from Eduardo Tarilonte that I picked up a few months ago. Like most of Tarilonte's stuff, it's pretty awesome, and I wanted to compose a piece that took advantage of it's particular kind of sound. I'm happy with the results, so far, although this sort of music is blunt force trauma compared to the stuff I usually try to create, so I'm not too sure about the current mix - I worry it's a bit thick and boomy. Any feedback on that (or anything else) would be greatly appreciated. 

    Libraries used:

    Dark Era (Shamanic chanting, Inuit Vocal Rhythms, various Throat Singing Patches and percussion patches including Roman Tympanum, shaker, frame drum)

    Era II (Fidule - the solo instrument that plays the main melody, a few sound design patches and pads, Tavern Singer shouts) 

    Forest Kingdom II (Shamanic Chanting)

    Epic World (Female Temple Voices patch)

    Era II: Vocal Codex (Heroica female legato voice)

    Cinesamples Voices of War: Men of the North (Vowel Morph, Shouts)

    KeepForest Vikings (Acoustic Rolls, Cello loops, Shouts, Viking Hits)

    Albion ONE (Easter Island Hits)

    NI's Rise and Hit

    8Dio Lacrimosa Choir

    As mentioned above, this one is still very much a work in progress. Thanks for listening!

    Rob

    • Like 1

  10. 6 hours ago, Christian Jones said:

    So Da Capo? Is that your favorite of theirs? I'm checking it out. I'm after that noir sound but yeah those phrase instruments they have seem like it be hard to get your money's worth from them 

    Yeah, I have Da Capo. I use it fairly often, although not it's full set of patches -- just the string patches, and mostly because I like how they sound when dialed low on the mod wheel. They have a nice, quiet rasp that works as a sort of sordino-ish patch, and they see use in my template for that reason. 

    I reviewed Da Capo in a post on the old Cakewalk forum: http://forum.cakewalk.com/Bought-Sonokinetic39s-Da-Capo-library-quick-first-impression-m3425007.aspx

    One thing I didn't mention in my review - there are no trumpets in the brass section. Just Horns, Trombones and Tuba. It sounds ok, but I have no idea why they didn't include Trumpet, which always struck me as a bit weird. 

    The Woodwind Ensembles are probably their most polished multi-sampled library -- very configurable, and they sound pretty good. That have become my goto for woodwind ensemble patches. Just FYI...


  11. I have a few of their libraries -- including two phrase based ones: Grosso and Vivace. The other ones I have are the various Ostinato libraries, and the more traditional multi-sampled libraries like Da Capo and Woodwind Ensembles.

    The phrase-based libraries have their moments, and every now and then they offer up exactly what you need to fill a gap in an orchestration. But that doesn't happen often enough for me, and aside from those instances, I find the phrase-based libraries are generally a bit awkward to use. 

    I much prefer their multi-sampled ones (both Da Capo and Woodwind Ensembles are currently present in my main template, and I like them a lot). 

    Your mileage may vary, but that has been my experience. 

    • Thanks 3

  12. 46 minutes ago, mdiemer said:

    A quick question: What level should I set the volume knob for the BX5a monitors? Halfway?

    I'm pretty sure I need the subwoofer. The woofers in the BX5a's are just 5".  I read that below 6" you need a sub.

    By the way, I found this article helpful:          https://ask.audio/articles/7-mistakes-to-avoid-when-setting-up-studio-monitors

    I'm trying to remember where mine were dialed to, and I can't remember offhand. I think I sort of played around with the whole gain setup in my system, from sound card to software to speakers, and tried to set stuff at moderate levels along the way - I didn't want any one part of the chain to be cranked too high, and wanted everything sort of running its comfort zone, for lack of a better phrase. .

     


  13. 29 minutes ago, mdiemer said:

    Thanks very much for that, Tezza, it was very informative. I just made the discovery that I have my monitors too close together (about 20 inches, should be 3 feet - I must have forgotten about that specification when I moved stuff recently. It sucks getting old). 

    So, I'm going to fix that, experiment with the crossover on the subwoofer and see how it goes. I may also have to look into room treatment, as has been suggested by many here and elsewhere. Supposedly also there's a way you crawl around on the floor, looking for the right spot for the sub. I may have to relocate my baby grand (anybody need one?).

    Depending on the age of your BX5s, there may be some frequency adjustment and dB switches on the back that can be used, also. The original BX5's had them, but I think they slowly phased them out in the later models. I also found that the distance from the wall behind the BX5's made a big difference in the amount of bass I could hear coming from the ports on the back. 


  14. 3 hours ago, mdiemer said:

    Thank you Jerry for chiming in on this. Unfortunately, I don't think I will ever attain the level of expertise you and others have. I am only interested in making modest improvements in my music, so that people will be able to get it. Maybe the Jedi Masters, as someone else here put it, will not be able to listen as it doesn't come up to their standards, and for that I apologize.  I don't have the energy or time (not to mention the ability to sit in a chair for hours; pain level limits that), to produce perfect mockups. Though I admire and envy those who do. 

    I have made some modest improvements, mostly by realizing that in manually panning my string libraries, I am losing much of the signal. I have also moved the basses in more to where they are more resonant. The reason I was panning everything is that I use different libraries, and some of them have widely varying seating plans. But I have hit upon a scheme that allows me to use them mostly in their native positions, with the exception of the pizz. basses, as they are from the Vienna Special Edition library, which is not pre-panned. So they have to panned. but Vienna has power panning, where you can pan without losing signal. 

    We'll see how it goes. While music comes naturally to me, as to all here, the other stuff does not. I can be a real dufus when it comes to the technical side of things. And I'm not getting any younger. any improvements from here on out are going to be incremental.

    Addendum: re: my speaker setup, they are not computer speakers, but a three-way system with M-Audio BX5 monitors and a Mackie sub. I meant "computer speakers" in the sense that thye are connected to my computer. although the way my music sounds now, I can understand why someone would think they are just computer speakers. I promise, it is going to get better. But keep in mind, better is a relative term.

    Mike, I am wondering if the subwoofer might be a bit of overkill in your setup -- at least in regards to mixing? Maybe others wiser than I (and that would be a lot of people) can correct me on this, but my understanding has always been that for small project studios like mine -- where small room size creates built in bass problems right from the start -- subwoofers tend to cause more problems than they are worth. Have you ever tried doing your final mixes on just the monitors without the sub? I used to use BX5 monitors (they were my previous set, in fact), and they are perfectly decent small monitors. Just a thought...

     

    • Like 1
    • Great Idea 1

  15. 23 hours ago, mdiemer said:

    Wow, thank you very much, Rob, that was really informative. I would love to have my mixes sound as good as yours. sometimes I wonder if the style I compose in has something to do with it. I don't have much dynamic variation in my music. I tend to write stuff that's on the quieter side. Or maybe my samples aren't good enough. 

    Anyway, I will keep re-reading your advice, there's a lot there. I've already read it three times, and again I really appreciate your taking the time to help me out here.

    Happy to help out in any way, Mike! I've been the beneficiary of a lot of help in this forum, also. One dude you may want to reach out to is Tapsa. He's been very helpful and generous with his time, and as a legit pro, he knows what he's doing. He's offered me some great help and encouragement.

    • Like 2
×
×
  • Create New...