Amygdala

I probably don't count as a professional, but here goes: I remember the good old days, but never used Atari - but a really minimalistic program for PC instead. Now adays, I use a five year old version of Logic on my equally old powerbook, and your point is exactly why: I can't be bothered to learn all the new stuff out there. I don't use any VSTi's - I have seen and heard some decent ones here and there, but they're no way nearly as fun as turning actual knobs, looking for a bad cable in the setup that causes the most wonderful distortion, routing three actual physical devices in a chain, and recording the result with cracked knees, and sweat and the forehead. So in my studio, it's still the good old days. I think there are two overall routes to learning music production: The way I learned - let's call it bottom-up. No gear, no fancy presets and no easy solution. If you want something done, you have to learn the basic principals behind it all, and combine them with your creative and musical "sense". Then the reverse: top-down. You get all these fancy softsynths for no money (= in no time), without knowing the first thing about what is going on underneath. A lot of good music can come from preset-riding, but truly great music (I believe) requires deeper understanding. This comes later (a LOT later) with the top-down approach, since all the tricks of the trade are available here and now - but, alas, just the way every other top-downer is doing it. No creativity is needed, and the results show. The usual disclaimer for exceptions apply - If I was to start now, I would definetly be a top-downer, but honestly - thank god I have the basic knowledge of synthesis, sampling, effects and whatnot. So here's what I meant to say all a long: Find the instruments (hard- or soft-) you really like, and stick to them. Pick a few, one of each kind (virtual analog, wavetable, physical modelling, modular, ...), and learn them - REALLY learn them! When you know them by heart, it's easier to let creativity take over, and surf the music, instead of hacking away at it... Throw away the newest upgrade of some arbitrary synth or sequencer, if it interferes with your workflow the least -A

Oh, didn't see your post there... Yeah, I know I would miss my knobs too. So you've gone all soft, eh? I seem to remember you wanted to try to create a label at one time... How's that going? (I'm not trying to get nepotism-points ) -A

As promised, a litle review: Overall nice production - lot's of tricks and doodaads that surprises a lot. Sweet breaks, and breakbeat-like percussion that gives a phunky atmosphere. The lead at 1.55 is totally awesome. Electronic and organic at the same time. Twisting and turning setting my mind on the other end. I wish you made the break at 2.34 into a "lead" at some point, becuase that really brings out a chaotic feeling, that matches the sireen-like thingy just after 3.00 And now for tne arrangement. My taste is more for slowly-evolving arrangements. I have trouble feeling a climax in your track, becuase it changes mood very often, and have short separated segments. It's hard to really sink into one of your ideas and explore it fully - too bad, because all the segments sound nice on their own - but I feel they don't fit perfectly with each other.... It's hard to explain, but it's like the track is a continous mixover between tracks in a DJ-set. Either that, or you try to show off as many tricks as possible as FAST as possible - and you certainly have nifty tricks up your sleave, that's for damn sure For a comparison, I'm very much into Der Dritte Raum, because there is basically only one idea the keeps evolving ever so slowly. Oh BTW - I think the kick needs a bit more click (faster attack - in-you-face quality), and a bit more in the very lowest end - it almost gets there when I turn the bass all the way up on my amplifier.... But in conclusion - it's good stuff

Hello - is it just me, or are the two subforums missing? I've tried in two different browsers. Something's amiss! -A

Der dritte Raum - Lava It don't get no betta dan dat! -A

Thanks guys - boy, are my ears red now! Very flattering comments. Yes, I was among the winners of the two contests from way back when. Too bad they are not up and running again, because there are some seriously good producers on psynews these days... "eq and compression": I think pretty much every sound has it's own EQ touch to it - but not very much. I haven't really EQed them against each other - more individualy, until I think they sound just right. I usually don't do that, because they should sit well in the mix, instead of sounding nice on their own - but I guess it worked anyway. I seriously dislike compressors, as a standard mean of getting "more energy" out of sounds, so I use them very little. Only on recorded sounds, like the vocal bit, and sometimes on sneaky breakbeats, to make them sound different - never to "enhance" or make a sound seem louder than it is. I try to make sure, that the clean sound fits as good as possible, before compressing and EQing. "the right kick for the bass or vice versa, i feel they greatly compliment each other": I have long despised the mathematical approach to music - but I have to admit, that it is a good idea to tune the kick and bass to each other. When deciding on key, I picked the one that matched the tone of the kick - by distorting the kick madly, to make the actual tone appear - tune the bass to it, and then removing the distortion again. "what about vocals?": The vocals are a complete fluke. I had a friend over to record some growls for another track - on a baaad microphone. At one point he was bored, and just began making silly noises and singing weird stuff (he has a history i death metal...) - he did some falsetto stuff and sang "remember the flame" or something nonsense like that, and one of the phrases fit perfectly. A little (a lot!) of reverb, flanger and stereo-enhancing later... Well Another thing I worked with on this one is panning. I never did much of that, but it can create depth and "space" better than most other tricks. - I'm glad you liked it, and dre_velation, I'll review your tech-stuff later on, when my examns are done

Same problem... I would love to hear, since I'm also into tech these days... Try again -A

I KNEW there was something not very normal about me... - naah, you're right, it's different everywhere. Here in Denmark it seems to me, that there aren't enough "small-time" parties. I could be wrong, I've been out of the loop for a while. Considering the ratio of parties to labels, I would put my money on a deal, and a few released tracks, before spending a lot of time to create a maddening live-set Radi: "but if i make good music and i´am on a well known Label i would get fammous fast and the other good thing is that i would get money." I'm sorry to be sorta rude, but I think you should forget oldschool. It sounds like you wanna be famous overnight, roll in cash, and fast women. Full-on be thy path young apprentice! -A

I think it's actually more probable the other way around...? There are millions of smalltime labels out there, and if you have something good, that fits their particular taste, then a promo is the right way to go. I think it is waaay easier to get a live-gig if you can put some affiliated label after your band name. Who would you hire for a party: - Amygdala - Amygdala (Cerebral rec.) - The second is more probable - plus, if you have a release with samples one one of the big shops (saikosounds etc.) then you have more chances of being spotted. I don't think that there are talent-scouts running around at parties and festivals, only interested in spotting new talents - becuase those who're playing there are mostly DJs and established artists (who have no problems getting a deal) - it's the reverse problem of, say, rock music... I think The easiest still, is to have contacts - I got a track released on Crotus... That wouldn't have happened, if I didn't meet Bes through a mutual friend. If you know someone, try to get them to hook you up... That goes for gigs too. -A

I agree with reger... Who is mod for this sub-forum? -A

Thanks - and yes. I tried that trick too once... But it had the reverse effect. When I removed the "extra-bass" the mix sounded lame, and I jacked up the "regular bass" too much. So I ended up even worse off... Well, no bigie, I'll just do several mixes, when the track is done. It's just sooo boring bouncing 3 or 4 versions of an 8-minute track :| -A

Thanks Damn straight... I've used all the tricks - seperate mixing, mixing with volume all the way down, whatever - but I just love subs too much, so I almost always overdo it... -A

Hullo, Inspired by Delta's Send in... Send back (thanks Tatsu!) - how does the bass sound on your system...? Is it too muddy, way off the meters, or just right? It's impossible for me to judge with the cranky neighbors I have... edit: forgot the link: Cognitive Distortion -A

I think the inputs on Eat Static's samplers are red-hot too... I've recognized quite a bit here and there... Latest, the flute-line from Holy War is in a Shakta track too. -A

Probably something like "obsessive compulsive disorder" - just kidding... I compose whenever something pops into my mind. That can be anytime during the day night, evening, whatever. Sometimes I get up at night, and scribble down ideas on a pice of paper, and try it out in the morning.... When I haven't been able to get any ideas for a long time, I start with a feeling of the atmosphere I want and a bottle of redwine. That usually does the trick. -A

Is it just me, or is something dreadfully wrong with the URL...? I can't find no tracks :| -A

As promised... The best example I have, is from a track from 1999, so bear with me. It was kind of nostalgic to hear it again. No softsynths, no plugin effects - no audio even. What you hear is a park of synthesizers and samplers recorded realtime VOCODER -A

Something really cool to do with the vocoder, is to put drums through a rough sawtooth wavesound. What the vocoder does, is to take the EQ "signature" of the modulation signal, and map it unto the carrier. If you use complex fast-changing sounds (like drums or voice) as modulation, then you get some cool sounds out of the simplest carrier - for instance a completely unfiltered sawtooth. Play around with pitch on the carrier, and you have instant crazyness. I'll dig out an example eventually... -A

Hullo - not usually my cup of tea, but I have to comment. I think it's pretty damn good, and very cyber-ish atmosphere. I can see (hear?) why you think of insects. I have some constructive ideas though: The kick needs more "oomph". It's as if the whole track floats on top of some barrier, and never reaches down where it really moves, you know? I don't know if you can EQ it, or need another sample... Another thing; I would really dig some short "soft" sounds, to complement the harsh metalic sounds - soak'em in reverb, and let them drift endlessly into oblivion, until the next one takes over... -A

Thank you kindly - I like music that puts pictures in my head too... I had hoped for "space-scapes" instead of landscapes, but I'll take it Cheers backatcha Parker... Your new stuff sounds really good. Smooth, and easy to get into. The parts sit really well together! The new page is swell as well - but I think I've seen the new design before? Is the list of studio "gear" complete? Because I don't see any actual synths there - but okay, the mac is nice and bragable. I want one! -A

Hi Lars - good to hear from you. Yup, it's a bit different. I think I just got tired of doing the same stuff, with the same sort of drum-section and leads. How are you doing...? And what are you doing? Long time no see -A

I will, thanks About the midrange... That snare probably has to much presence. When I get around to adding the final stuff, I'll see what I can do - I'm mixing on hi-fi speakers and headphones though, so it's hard to *really* hear what's going on in there... Thanks or the comment -A

Hullo Very impressive. Good production, good sounds, good drive - nice atmosphere too. As far as I'm concerned, there is only one thing "wrong". It seems the track is neither here nor there. I'm having trouble "getting" the structure, and making head or tail in the arrangement. It seems there is a returning theme in there, but I'm not naturally led to it. Does this make any sense? Maybe it's because I'm used to listened to "simpler" music... Maybe I'll get it when I have heard it ten times Oh, and thanks for bringing some actual tunes in there - good ones are a rarety these days -A

The easiest way to go is probably by a lot (a LOT) of beans... Or maybe some amplitude modulation - that's always nice.

I define it as "no way can one ever tell the difference" - I know it's possible, I've heard music slow down and stop completely, without quality loss... It was classical music though, but still. The timestretcher was written by one of my uni-professors, and it was veeeery good. I think I actually have the source-code somewhere, but it's a couple of years ago... I'll let you know if I find it -A