x2k

I'm pretty shit at most games, rarely play anything but I can get to an acceptable level as fast paced FPS games (last ones I played were Unreal Tournement & Quake 3 Arena) the slower wandering about on a big battle field/more strategic stuff I'm not so good at. Its got to be run, shoot, run away. Saying that I'm not good by any serious gamers standards but I can get to a level where I can hold my own for a bit. Also it's got to be keyboard & mouse, can't do game controllers.

Your decks are the wrong shape and the scale of your traktor box is completely wrong 2/10

The american date format is fucked, fact, end of! There's is nothing logical about it what so ever it's like writing the number 142 as 412, load of fucking bollocks and an absolute nightmare when writing code too.

Do you believe that? I reckon it potentially could have if there were investigations going on but I reckon they're really just pissed that a bunch of kids did more than they've done and they don't want to promote vigilante activity.

I have a friend who has one. The PC is great & has plenty of power, the touchsceen is gash and you get an achy arm if you use it for more than a minute. The main downer is you can't expand it at all, there's no pci slots and its not got firewire so there's no way he can use his nice firewire mixer, so that's a bit shit but if its got all the ports you're ever gonna need then I'm sure it will be great.

Ok, I'm assuming the synth you're talking about is the one that hits at about 2:23 in this http://www.youtube.com/watch?v=KQ6zr6kCPj8 and at about 0:46 in this http://www.youtube.com/watch?v=EPo5wWmKEaI&ob=av3e If so that's really fucking random because I just happen to have a patch someone made trying to emulate the LMFO one in Massive on my desktop, not sure why it's there or who made it but I'll upload it anyway. Anyway regrads how to make such a sound, I don't really consider the 2 sounds in those to tracks the same, to me they sound quite different but they are both monophic lead sounds with portamento on them so I can see why you would refer to them as the same sound. Right, if I say anything you already know then sorry but I just wanna make sure I explain as best as possible, so... monophonic mean's that only 1 note is played at a time, obviously you can play a polyphonic (more thany 1 note can be played so chords can be played) monophically by playing single not melodies but often synth will behave a bit differently when set to monophonic so for this time of sound it would generally be a good choice. portamento (also known as glide) is when the synth takes some time to get from 1 note to the next effectively bending the pitch. I'll quickly go over the details on how to set these options up in the 2 synths. Massive: 1. Initialise the patch, this means clear clear the setting to a basic patch. In Massive you do this by going File->New Sound 2. Go to the voicing tab and select the option monopho or monorotate, to see the difference check the manual but either will do for this task. 3. Leave the trigger mode to Always, this means that the glide will always take place from the last note to current note. Legato means that the glide will only happen when 2 notes overlap but for now leave it as always. The synth is now monophonic, try playing 2 notes at once. 4. Go to the OSC tab, here you see a knob for glide time, there is probably already some glide time set but you can adjust it to taste. Equal & Rate change the way it behaves slightly, again check the manual (I don't wanna answer everything for you) Sylenth1: 1. Initialise the patch. You do this by going to one of the last patches in back 4 called "init" (providing you've not overwritten them yet. 2. In the top bar you will see a setting called Polyphony which is probably set to something like 3, reduce that to 1. Sylenth is now monophonic 3. Down the bottom right of the synth there's a Portomento knob. Make sure that the Legato light next to it is not lit, and change the little mode switch to S 4. Adjust the portamento knob to taste. In terms of the actual sound you can really do anything you want to get the tone you like, something bright like a saw wave would be good, but it will need a bit more to be exciting. You could try 2 detune saw waves or like the LMFO patch modulate the pitch by a fast lfo, you could try and put a filter on it or whatever you want really. Finally a bit of reverb or maybe even a delay will make it sound a bit more exciting. One very useful tip is learn what the basic wave forms sound like. These are sine, square/pulse, triangle and sawtooth, they all have their own characteristic and you get used to them pretty quick but it will really help you decide what to pick when you try to replicate a sound. EDIT: I don't seem to be able to attack a .ksd file so here's patch on sendpace, again it's not mine, dunno who's it is http://www.sendspace.com/file/41hwsw

It's a boring task, it takes a long fucking time and you'll get incredibly border after you've done a few.

no worries He did actually already thank you but it was in the other thread just as I split the topic so it got lost in the void.

I just split this topic out because I don't really think it's got anything to do with sound design or synthesis. The perceived volume of a track/sound is a combination of the dynamic range present and the frequencies present. Dynamic range can be squashed out with a compressor to make the track sound louder and eq can boost some lower freqencies. However these might be destructive to the track and you might find that to make a track sound as loud as another you end up completely destroying it. My recommendation would be to adjust the eq a bit and so that it sounds nice with the tracks you are missing, you can also add some compression too if you want but generally not too much. The all important thing is to then adjust the levels so the mix sounds balanced, the very important part is that you do this with your ears and not your eyes, don't do it so the waveforms look the same volume but so that the mix sounds balanced!

Try calibrating it properly first, I think you'll like it better then.

Oh, I probably should have said why too. Tape saturation adds some harmonic distortion and also some dynamic compression so the result is a more solid sound. It's quite a pleasant sort of distortion and makes the sound feel a bit warm so it's good for sterile synth sounds. So basically I use it to give something a more solid and pleasant sounding place in the mix. If you over do it the sound becomes muffled and fuzzy though.

Absolutely. Tape saturation can really do good things to your mix but the trick I find is to apply a little to many elements in the mix rather than lots on the master. It's like you don't hear it much on the individual channel but the cumulative effect on the mix makes a good difference. For nice saturation plugins check out Bootsy's vsts, best of all they're free. http://varietyofsound.wordpress.com/vst-effects/ FerricTDS is the tape saturation plugin but there's some other nice saturators there. As these plugins model analog gear it's quite important to calibrate them properly to get a decent effect (they have a sweet spot) so it's worth reading the overviews on how to use them in the manual first. With FerricTDS for example you put it into bypass mode and adjust the input until the needle is just hitting the red, the enable it and dial in your settings. Adjusting the input level is pretty much the most important part though.

By the way depending on what you are trying to achieve leads to quite different approaches to using synths I find... For nice clean synth sounds 90% of the work is done in the synth itself so it's all about programming a really good patch then just using some effects to get in sitting in the mix nicely if needed. These are the sort sounds that you might hear in trance, hard dance music or synth based hip hop. For more gnarly sounds like you might hear in a lot of drum & bass or dubstep a lot more processing goes on, the basic synth sound it made then a shit load of effects get smashed on it and automated, then often you might sample what you have created (known as "resampling") and processed further. Just thought I'd mention that, it might help lead to some questions.

http://www.digitalvertigo.co.uk/forum/index.php?showtopic=30490

I'm starting this because of the selling beats there where juse asked if I could elaborate on making sounds and what synths and effects I use. It's a massive subject so rather than try and write loads of shit out tell me what you want to know and I'll try my best to answer. I'll start with a short list of my favourite plugins and why. Synths NI Massive - It's quick and intuitive to use, if I want to make something quickly and not spend too much time on it then it perfect, it's also very capable of a big range of stuff. NI FM8 - My favourite FM synth, fm synthesis is a bit more challenging to get to grips with but it's extremely powerful. CamelAudio Alchemy - For granular synthesis and additive resynthesis, generally I use this for taking a simple and boring sound turning it into some lush textures. I often use it for pads. Sylenth1 - Basic synth which sounds lush, I use this for things like trance leads, hoovers and super saws. u-he Zebra - A very flexible synth with a lot of power but takes longer to program, I'll use this when I want to do something more interesting and I'm not in a rush. NI Razor - Still getting into this. Effects CamelAudio CamelPhat/CamelCrushers - Probably my most used distort, ever need to phatten something up I normally reach for these. D16 Decimort - bit crushing/lo-fiing Reverbs - I tend to use my UAD ones which are expensive, I'll expand if you want. Cubase/Ableton Built-in Delays/Chorus/Flangers/Phasers - For echos, movement, thickening and spacial effects. SugarBytes WOW & Tone2 Bi-Filter - For creative filtering (often notch or formant filters). Various Compressors and EQs - Used both creatively and to fix things and get the mix sounding good. Other Plugins Kontakt - Processing and mangling sounds further beyond synthesis. I also use the Kontakt Library, Cubase's built in halionone library and Addictive Drums for real instrument sounds which I may process further to create new sounds. This isn't a complete list of what I use but they are my most used plugin which I think probably get used in every track I make these days. Fire away with some specific questions

Yeah for sure, shall we do it here or do you wanna start a new thread or pm?

Hmmm, I don't really think I'd go on there with dubstep or dnb to be honest, I would've thought that to make it worth while you gotta put quite a few beat ups and when I make a dubstep/dnb tune I invest quite a lot of time into it, generally 4 days work minimum but often weeks, so unless someone picks it up for $2,500 I'd rather use that to release it under my own name. On the other hand club style "hip hop" sounds like quite a good option cos I reckon I could knock a few of those out a day.

I'm interested, never really though about the whole selling beat thing. Edit: Wow, just looked at rocbattle and people are selling the most god aweful dubstep, in fact it's not even dubstep it's in harmonic noise at 140bpm, for $2,500, do people seriously pay that much for stuff that bad?

I'm not a c1 hater, I just don't really think anyone has managed to be very creative with it, pushing buttons while a tone is playing is shit but I reckon there's some serious possibilities with it. Same with ableton really, so much possibility but 90% poeple who use it use it to do that bare minimum...fuck that

if you just like pressing random notes which have no relevence to the music then yes it was a good vid

Was a very good set, pity you didn't go to the World final with it really. It's amazing how good you've got over a few years, very impressive. Hope you're planning on winning the Canadian dmc again next year.

Seriously!?!?

That's a tape delay effect. Old delay units used to work by having a tape loop and you would change the delay time by adjusting the speed of the tape, if you adjusted the speed of the tape before sending sound through it then the echo will sound the same pitch as the sound that went in but if you adjust the tape speed while it's already echoing it will change the pitch up or down depending on whether you are speeding it up or slowing it down. There are plenty of delay plugins out there which do that but off the top of my head I don't think any in ableton suite do (although you could try cranking the feedback up and adjusting the delay time while it's echoing out and see). I use the UAD Space Echo emulation but that's expensive as fuck and require special hardware. One set of free plugins which I think will do are the Tal Dub plugins, I've never used them but I know they're supposed to be good and I'd be very surprised if they didn't. Give them a try, again feedback up and automate the delay time. http://kunz.corrupt....roducts/tal-dub

Maxforlive is great, I got it so I could extend the capabilities of my APC but after loosing a few days programming the fucker I just don't feel like I have the time to build with it. Saying that's there's lots of cool shit out there already built for it but what would make it really cool is building a really clever live set with it but it just takes so long to prepare...and that's why people just press play and stand there instead.

4G? You want fucking 4G!? How about 3fuckingG, that would be a start! Ping: 1536ms Download: 27kbps Upload: 34kbps Provider: Orange Location: Uk