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Originally posted by TranceElevation btw, very curious you and that robby have same ip

Serious question. But what kinda loser just goes around performing random IP checks on people?

If we do have the same IP, thats likely because many people DO HAVE THE SAME IPS. Which is a reason forums always ban accounts first before they ban IPs.

And really, why would you even be checking our IPs in the first place?
Thats just creepy.

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Sequencers: FL Studio 9XXL & Reason 3.
Main Synth Bass GTs - Pro-53, V-Station, Sytrus, Subtractor, Trilian, Blue, Sylenth & Z3ta.
Main Synth Lead/Pad GTs - Z3ta, Sytrus, Sylenth, Vangard, Albino & Nexus.
Main FXs GTs - Waves Plugins, Soundtoys, Volcano, FL Native FX.
Hardware - Truths, Echo Audiofire, Virus Snow, & Novation Xio Midi-Synth.

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Originally posted by TranceElevation Who the fuck is Robby?

Ok so not only are you randomly performing IP checks cause you have no life but you also lack the ability to read the name of the person whos threads you read.

My my must your mother be proud.

___________________
Sequencers: FL Studio 9XXL & Reason 3.
Main Synth Bass GTs - Pro-53, V-Station, Sytrus, Subtractor, Trilian, Blue, Sylenth & Z3ta.
Main Synth Lead/Pad GTs - Z3ta, Sytrus, Sylenth, Vangard, Albino & Nexus.
Main FXs GTs - Waves Plugins, Soundtoys, Volcano, FL Native FX.
Hardware - Truths, Echo Audiofire, Virus Snow, & Novation Xio Midi-Synth.

What I don't understand is why he thinks it's "curious". As if I'd somehow be accomplishing something around here by pretending to be you, haha.

and for what it's worth I meant no offense by the bassline-making robot comment.

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Originally posted by DJ Robby Rox Serious question. But what kinda loser just goes around performing random IP checks on people?

Ignore him. He can't check your IP's on here. I think he tried to pull that one off some months ago too.

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Storyteller Website | Storyteller @ Facebook | Storyteller @ Beatport | Storyteller @ Soundcloud | Stephen J. Kroos - Europa (Storyteller Remix)
Anthony Mea - Get It On (Storyteller Remix)

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If less is more think about how much more more would be. -Frasier

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Originally posted by DJ Robby Rox Kysora is right I want to be a loud bass making robot lol. Nah thats bs. I've said it before but I've heard people say on here "you need to finish tracks so you can learn how to be resourceful when the time comes, or how to be creative/combine sounds etc etc" and I think thats a crock of shit. If I need to write a moving melody, it will take some time but I can. If I need to structure a tune from intro to break to drop to climax to outro, and write it in a creative way I can do that. I have millions of ways to transtion, millions of ways to combine new sounds and variate my music to keep it moving. But what I don't have is the skill to combine all these sounds so they sit at peace with each other, so there is space and clarity, depth and dimension, LOUDNESS, etc. I don't have the skill to learn how certain sounds mix with each other. Why some sounds just can't be mixed with others or the "tricks" that pros know to squeeze them in. The "tricks" into creating a full sounding mix that is truely up to par sound qualitywise. I just know my skills and weakenesses and right now my biggest weakness is the engineering aspect of music. Because imo thats the only part of music you actually have to learn. From the day I first sat I knew how to write a full track, thats never been an issue. I mean I have about 10 million templates of every song I've ever heard in my life to use as reference or just for ideas. Thats something intuitive that you just do. The technical side however is not intuitive. Some of it is actually very counterintuitive. And thats the shit I want to learn right now. So yes, I am a bass making robot and I'm fine with that. Although more than just the bass I'm really focused on the entire foundation of my mixes which is really everything except the melody/pads. The kick/bass/drums/percs/claps/fxs and even noise. How to make them all interact and talk to each other so the track drives forward. How to make them sit together right. Thats what I care about. And when I figure out how to do it consistently and well, then I'll start to actually finish tracks.

I know what you mean, but I think there is some truth to the "finish a track" thing. If you don't all you're ever doing is essentially practicing (which is a good thing) or just doing doodles. Actually finishing something does teach you work ethics, like project management, workflow and creative approach techniques etc. It teaches you to start something and actually finish it, which in a professional environment is sometimes more important than the creative or artistic aspects.

For instance all the guys I know who work in TV/film, know that if they miss a deadline, it can be a serious dent in their career prospects and in some cases, end it all together.

As for your other statement about knowing your skills and what your current weakness is, I have EXACTLY the opposite problem:

Engineering comes to me like second nature in some ways and all I have to do is a read or listen to something to assimilate that info and it's in there.
In fact one of the biggest reasons I'm on here is by discussing stuff and sometimes helping others, it keeps the engineering and producing info from going rusty and in the forefront of my recollection.

The music theory and programming/arranging aspects are the parts I really struggle with.

To be honest robby, if this were any other discipline than EDM, you wouldn't even worry about engineering, you'd just come up with the ideas and have other people produce and engineer it for you. I actually knw a couple of EDM producers who do that - SisterBliss (Faithless) AFAIR made all her tracks that way, and still does.

while we're already discussing engineering and since we're both already posting here, thanks a lot for the advice you gave me a few months ago, Rann. I got a brand new computer and an Echo Audiofire and I can already tell it's going to make a huge difference. Not that I didn't think it would but you were the one that pushed me to finally upgrade my equipment. totally worth it.

anyway, carry on.

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Originally posted by DJ Robby Rox right now my biggest weakness is the engineering aspect

Mine too. The only solution for me is to be prepared to spend however long it takes on each sound. I must admit I quite like that process of sinking down into getting a single sound right - can take me a long time.

I am I think a bit OTT, but maybe others are like me? For example I'll load up a bank of snare samples and audition each one in the project and not be satisfied and end up going through other banks and audioning hundres of sounds. Then once I do finaly settle on one, lots of tweaking including the filter and bpitch enevlopes, then the verb - it takes me a lot of time which I imagine is a bit abnormal?

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Originally posted by Richard Butler Mine too. The only solution for me is to be prepared to spend however long it takes on each sound. I must admit I quite like that process of sinking down into getting a single sound right - can take me a long time. I am I think a bit OTT, but maybe others are like me? For example I'll load up a bank of snare samples and audition each one in the project and not be satisfied and end up going through other banks and audioning hundres of sounds. Then once I do finaly settle on one, lots of tweaking including the filter and bpitch enevlopes, then the verb - it takes me a lot of time which I imagine is a bit abnormal?

Attention to detail makes a big difference in the end.

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Originally posted by dj_alfi change your avatar for fucks sake.

Awesome thread, I got a lot of confirmation on the low cutting theory as I was getting really frustrated trying to make my drum patterns, the kick, have that full rounded effect. It is definitely not from trying to make it louder. Im at the point where I am trying to make each track in Logic "breathe", as you would say. Ive experimented with cutting out frequencies to sounds that dont really need them in order to maintain the effect im looking for, or the obvious compression/sidechaining. Its a hectic process!

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Originally posted by Kysora while we're already discussing engineering and since we're both already posting here, thanks a lot for the advice you gave me a few months ago, Rann. I got a brand new computer and an Echo Audiofire and I can already tell it's going to make a huge difference. Not that I didn't think it would but you were the one that pushed me to finally upgrade my equipment. totally worth it. anyway, carry on.

Glad to hear it and that I could be of some help

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Originally posted by Lawrenceq Awesome thread, I got a lot of confirmation on the low cutting theory as I was getting really frustrated trying to make my drum patterns, the kick, have that full rounded effect. It is definitely not from trying to make it louder. Im at the point where I am trying to make each track in Logic "breathe", as you would say. Ive experimented with cutting out frequencies to sounds that dont really need them in order to maintain the effect im looking for, or the obvious compression/sidechaining. Its a hectic process!

Not really - you start to reach for the same things each time; you know that the kick should not have less than 50hz in it, so that goes, and you know you don't need the stuff in the high register of the kick so that goes too. Your vox needs prescence around 1-3k but nothing too high or low (unless for effect). You know your high strings don't need low in there so that goes as well.....

....what I'm saying is that once you understand why you're eq'ing something it just starts making sense, as to what should be in there and what shouldn't. Solo the sound and cut away what isn't needed, then compare it to things that have the same frequencies and adjust if needed or select different sounds.

It really does all make logical sense when you think about what frequencies each sound should have.

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Originally posted by DJ RANN ....what I'm saying is that once you understand why you're eq'ing something it just starts making sense, as to what should be in there and what shouldn't. Solo the sound and cut away what isn't needed, then compare it to things that have the same frequencies and adjust if needed or select different sounds. It really does all make logical sense when you think about what frequencies each sound should have.

The "why" is pretty key here, thanks for the advice. I just spent the evening solo'ing out sounds and doing freq sweeps to really see where they fall and then doing more of that "cutting away" of whats needed... Following this, say if I have an arp'd pattern and a middish bass that seem to drown each other out as they share similar frequency, what is my best tactic in order to hear them both clearly? I would upload a sample but im not near my stuff right now. Thanks in advance.
LQ

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