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which one is more important (pg. 3)
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| Raphie |
| Skrillex does not exist, it's an alt for Seandroid, for squeezing out his BroStep stuff. You can find Sean here on the forum sometimes, ask him yourself |
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| Normie |
| quote: | Originally posted by Raphie
Skrillex does not exist, it's an alt for Seandroid, for squeezing out his BroStep stuff. You can find Sean here on the forum sometimes, ask him yourself |
Not possible. Seandroid's Brostep exhibits none of the analogue warmth that is a trademark of the Skrillex sound. You can clearly tell over RP5s and the dual sub I mentioned earliier that Sean's stuff is coded in C, nor Cobol/Machine Code.
Programming on the bare metal is oldschool stuff Ralphie, I'm surprised, being you're an oldschool drum machine affectionado and the similarities between Hardware and Cobol/Machine code are obvious. Aparently you are listening on those cheap monitors of yours. Isn't it time you stopped playing with those off brands and get some real mainstream stuff?
I mean really...
Edit__________________
OK I just had a look on your site. I forgot you use K&H monitors. There's your problem.
Eddie Z nailed this on his advice thread. Most people are not listening to Skrillex on $5000 speakers. Most people are not making Brostep on $5000 speakers. So why on earth do you think K&H or Focal Twins or Bearfoots can accurately reproduce the subtle analog nuances that were CREATED on what is arguably an even better speaker - the RP5?
And when you add a pair of subs panned hard L/R, what are you smoking to think your fancy boutique "professional" speakers can achieve that level of quality and yes, I'll say it, sonic integrety?
Brostep is likewise not listened to on Grados and Teslas. It's best appreciated on Beats by Dre. You honestly think anyone buys the line that K&H are going to compete on a level sonic field with Beats by Dre?
I think not.
When I see a hipster walking around with a pair of K&H monitors strapped to his head, well, maybe then Brostep will have devolved to a level where such subpar equipment is acceptable for production. But until that day comes, it's KRK/Beats by Dre. That's the "classic" Bro/Dubstep combo, no different from a Jupiter 8/808 or 303/909 in their day. People in 2030 will be paying insane amounts of cash for RP5s (in ultra rare Ferarri red) and 2000 Micron Pentium 4 laptops with the soundblaster chip. That's just reality Raph.
And since we have already determined that VSTs coded in Cobol/Machine on a vintage laptop is sonically superior to both for analog feel and sound, there is really no comparison after all. |
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| Raphie |
Yeah, I might do that, time to move on from K&H to KRK....
Cobol is too oldskool I want a Java based host now. |
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| Normie |
| quote: | Originally posted by Raphie
Yeah, I might do that, time to move on from K&H to KRK....
Cobol is too oldskool I want a Java based host now. |
The other day, Ran saved me from a hell of a mistake. There was a monitor discussion and since I am about to fork out for a pair, I was going to go for a pair of Hs80s. But then he told me about Tehlord's experience with Rockits vs. Hs80s. He made the mistake of getting the Yamahas after owning the KRKs and said that the HS were like having a 'zoom function'.
Rann saved me a wasted purchase and I will forever be grateful. Thanks to his sage advice, I will never consider camera equipment for music production...It's KRK for me all the way now. Rann can hold his head high knowing that I will have bought a modern classic.
Who the hell wants to take pictures with a studio monitor? I don't wanna pay for photo crap on my speakers. I was considering the Yamahas since over the years I've owned 2 Yamaha racing snowmobiles and an RD400F Daytona Special motorcycle. They sounded freaking awesome, so I figured that would translate to their speakers too. But a zoom function?
Nope. I'm not going to stick my neck out and try producing on camera equipment. KRK is what laptop producers use and after 2 years in the game, I think I pretty much know all there is to know about production...and that is NEVER step outside the box. Period. |
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| Storyteller |
Assembly where it's at yo. That or objective-c since the analog I-devices with Moog end such exist. There is only I, no we.
Come to think of it, the I-devices are probably the signature for this era of individualism. No focus on the bigger picture anymore. I'm going deep.
And; Never step outside the box indeed. The realm of analog is hard to handle for the bits and bytes. Suddenly all kinds of physical objects come out of your box. That's when the world will be taken over by seandroids. |
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| Raphie |
Ah....ok..... get it now.....
Seandroid isn't human?!? at least that explains the vowel type sounds.
Damn I always thought he was too good to be true. I mean the way he stood up for Dubstep and stuff..... It all makes sense now. |
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| Normie |
| quote: | Originally posted by Storyteller
Assembly where it's at yo. That or objective-c since the analog I-devices with Moog end such exist. There is only I, no we.
Come to think of it, the I-devices are probably the signature for this era of individualism. No focus on the bigger picture anymore. I'm going deep.
And; Never step outside the box indeed. The realm of analog is hard to handle for the bits and bytes. Suddenly all kinds of physical objects come out of your box. That's when the world will be taken over by seandroids. |
NOW I get it!
That was your idea! You were planning on shoving all three Grammys in Skrillex's face with music made in Assembly coded true analog vsts! How can he compete with the sheer analog bliss of Assembly?
Dude, that's freaking hardcore. I guaren-damn-tee you no one here thought of that. I wonder if that what Trancelover was thinking as well? I mean it fits. It's a revolutionary idea that no one had thought of and will surely rule the school.
Can you imagine the warmth of a filterbank coded in Assembly? The speed? That would put Sherman and Moog out of business overnight.
I hope you patented that. I mean every time you turn around some PR dept is marketing their software as a 'revolution' but that really is one. |
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| Raphie |
Great, you know what? let's call it V S T i..............
Virtual Studio Technology instrument...... Now THAT would be game changing |
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| Normie |
| quote: | Originally posted by Raphie
Great, you know what? let's call it V S T i..............
Virtual Studio Technology instrument...... Now THAT would be game changing |
I love it! So obvious...yet subtle.
First there was Analog, but it wasn't enough...so SSL created "super analog" because things called super are obviously better (See "Superman" versus just regular old 'man'.
Then the Japaneese created "Ultraman" Because Super isn't as good as 'ultra" Likewise, Novation had the Nova, then Supernova, now the Ultra Nova.
But SSL dropped the ball and a true innovation in Analog never made it to widespread "Ultra" status (outside Behringer). So where does the current evo/revolution , the next stage in analog go? To the Assembly coded "Fabu-Log" VSTi series of software!
VSTi - Powered by "Fabu-Log"
Why "Fabu-Log" you ask? Well it's designed for EDM and that's about as gay as it gets ;) |
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| Normie |
| quote: | Originally posted by Storyteller
Assembly where it's at yo. That or objective-c since the analog I-devices with Moog end such exist. There is only I, no we.
Come to think of it, the I-devices are probably the signature for this era of individualism. No focus on the bigger picture anymore. I'm going deep.
And; Never step outside the box indeed. The realm of analog is hard to handle for the bits and bytes. Suddenly all kinds of physical objects come out of your box. That's when the world will be taken over by seandroids. |
Since you were so forthcoming with your secret, I feel it's only fair that I should reveal mine...aside from my love of crossdressing as a Japaneese schoolgirl...which by now, should be obvious.
In my prior writing on this thread, I divulged the trick of getting the most out of KRK RP5s by the addition of dual subs panned hard left and /right. But there's more to it.
The trick is to invert the phase on the right one. Not the left one, the right one. Inverting the phase on the left sub works ok with non-analog softsynths, but to get the peak sonic performance from true analog softsynths, you have to invert the phase on the right sub. Otherwise it won't develop the 'bloom' in the sound that have made true analog softsynths famous.
I don't think I'm going out on a limb here when I say that the second you hit the invert, you will have a sound unlike anything you can describe in words. It's subtle, nuanced even, but just mindblowing.
And that's really the beauty of the dual sub RP5 system. Most people are not really able to grasp just how much this one simple trick ADDS to the sonic assault. And I'll be perfectly honest here. After 2 years of music production, I think I'm easily knowledgeable enough to say this with authority...
If you can't hear the level of improvement, you really have no business in production.
Harsh? Perhaps. But I'm not going to sit here and bull a bunch of newbs that don't have my level of skill. If you don't hear the improvement this makes over the standard dual, or even single sub setup, just go make hip hop, because EDM just isn't for you.
And before anyone says anything, you're welcome. |
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| dj_alfi |
| Bookmarked for future reference. |
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| Storyteller |
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