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 Now online (1)RussellDust ...and 89 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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i have a decent sub again a few months now, and some of it is clearly too much. i'm browsing around a bit and it's like... "oh, yes, it can kind of be a signature, where and how you cut the messy low-end" you know, 20hz, less, maybe a bit more -- and then there's talk of cutting it at a specific note. for, you know, da club. at the end of the day, frequencies do matter, especially when you get down to the 50ft long waveform shit. but i have no experience w/ da club. i have been messing about with this about, and it seems to pan out. some of the bass the wavestation ex defecates is actually almost painfully bassy; perhaps even ear-bad. like, on the one hand, i like how punishing it is, but on the other out of hand; ouch. i was really just wondering what anyone's everythot on this is. because it seems like there is a reasonable thing to learn here, but also a lot of hoarse whisper poppycock to be googled for |
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fuck. the wavestation ex goes to at least 75ft |
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has anyone ever had a funny moment where you actually can kind of see/feel the waveform through the air and then the flange gets into your teef? no? ok. please just answer my question about bass cut. it will save ears. the wavestation is toooooooo |
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in we tame da trout but be unregulated currently (wha [WHA >WHA i'd say you can kind of hear me cutting it for da club, versus having not dug into that when i diddled around the multi-band compression on cryptojoken. i just want some advice on what, exactly, da fuk im doin |
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what was gearslutz renamed to so i can ask this somewhere people will care |
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im perfectly satisfied with the high cutoff on my active sub, but, do you have a ground loop isolator flying around somewhere? its probably making people cringe, but it might kill low frequncies not needed for your club. dont forget to print your custom club dollar bills for obvious purposes. :attached picture: |
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gearslutz is 95% ppl saying in 8x more words than necessary stuff that doesn't need to be said at all are u on about eq'ing you tracks to sound good on your sub or sound good 'everywhere'? if its the former then just do it, if its the latter then forget it setting eq filters to particular midi notes only makes sense for peak/notch i reckon, roll off there is no point .. at least +2/3 each side wont matter i reckon.. |
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hi/lo shelf definitely ... some paragraphic eq software has resonant lo/hi pass (i'm not sure what for? i'd rather use a shelf and a peak, more flexible) |
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eq and compression, making shit loud without distorting, whatever they call it is the ONLY place that I think advice can be sought without meaning that a person has no fucking clue about making tracks and i havent got a clue about it... read a book or summat. |
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>>> if its the former then just do it, may wanna get your room set up first, .... lot of these things are just luck or how-you-say "completely fucking arbitrary" |
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paging elusive... He will tell you stuff that makes you forget the whole thing, so i guess you may aswell GET THE FUCK ON WITH IT. (sorry for caps) |
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Have you ever been to NYC what's that place like? I havent i want to go though |
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been to the other coast loads of times with work shit but only one to the other one.... i fucking love america, you are american aren't you? Will raise you one Victor Lewis-Smith for your Longmount Potion Castle |
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im perfectly satisfied with the high cutoff on my active sub, but, do you have a ground loop isolator flying around omewhere? its probably making people cringe, but it might kill low frequncies not needed for your club. dont forget to print your custom club dollar bills for obvious purposes. fuck, wait, what? are you saying ground-loop isolators are bad? like, it makes basic sense; you are saying that ground loop isdolorators? because absolutely fucking everything is going through furman rack power conditioners. i lived in a town with a lot of radio and TV stations once in a house with bad wiring and after ages of cursing out the the BZZZZ and wiggling wires i got a load of these fuckers and i haven't had the problem since. and now even this is a problem? i hope i misunderstand. i really hope |
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*you are saying that ground loop isdolorators fuck w/themix |
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i hope you're just actually saying maybe i should have that because trust me i fucking have a lot of it. |
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steve, i dunno. i feel this, but you do not give me enough credit. i have been fucking with the room since i moved in. i've bought a real sub, then isolation pads for both the sub and the monitors. i have a decent ear but i've not trained it for really specific frequencies. reaper is nice and scriptable; i squint vaguely, and, yes, i could actually code up some custom spectrogram shit in here mad easy. because i tried what it had and none of it was mustard. because, like, if i can have a picture always churning on the second monitor; just glance at it... eventually it will fuse with what i hear but, then, yes. i've read a bit of this and that about it. 8x words and all that; mining for something of use. i mean, i wrote it up a bit silly, but what i said was actually more or less what i dredged up that i felt had some merit: 1) most systems can't produce frequencies below this or that and you should cut this off (gracefully) to avoid wasting loudness in this neurotically compressed world we all now live in 2) 20hz = 50ft waveform, the size of yer average "da club," the resonance of the human bowel; i'm sorry but i do believe a fierce argument in where, precisely, we should stop. 32hz? whatever it is, it's probably a fundamental of some note, C or D something, and a lot of club music is in that key, with that as the low cutt 3) people write a lot of voodoo bullshit and, i guess, i've a decent filter, i just need more bullshit to read. but if you have any sort of larger answers it would be appreciate |
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im sorry d00d it did sound patronising, was just reeling off what i thought generally i guess.. was drinking rum+tea waiting 4 train out of weird place Backwater UK Fuck spectrograms use your ears, make stuff for your setup, keep the stems.... As soon as you think "i could do this and it MIGHT sound better on this hypothetical system" STOP, unless you have it to test it on. Ppl like Dillinja & that are making tunes for their own rigs u know |
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ps the bit about tuning eqs to specific pitches ive always thought instruments should be able to have audio inputs too also why is it that most (all?) subtractive VSTs never have eq type shelf or peak filters, kinda weird.HAvent used a vst in a while though, and like i said i wouldnt listen to me on any of this stuff |
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(like kybd following shelf,peak, i mean -seems pretty obvious and really easy to do but they never seem to cos slavish adherence to hardware counterparts, perhaps. creeping skeuomorphism) |
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have you tried plugging your waft extractor to your wiffle ping scrambler, then chutney the sound vibble to the extreme cardinal points of your Drimble Tulip |
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i love synths with mad parameter names |
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When I was young I had reaktor on my bedroom pc and I would piss my mum off by doing sounds like this |
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you have to ramp up the oxyplasmic flange valve to phase the minge wavelets |
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:) i used to repeatedly play the Funeral March on old acoustic guitar whilst she was trying to watch the telly (i was thinking about that music the other day... like the 'cake' music in Brass Eye, wonder who did it...pretty banging tbh) |
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yeah the ambient bit at the end is really good as well, I wonder if Noel Edmonds ever wakes up at night and thinks of that track the duck spinning a record sound effect bit |
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Hecker has a good line total nonsense verbiage for his stuff too, "stupid people think its clever, smart people think its a joke" |
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fucking hell Rolf Harris forgot he was in it |
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reminds me of that art gallery where people were staring at some glasses a bloke had left on the floor or something, I guess i cant take the piss cos in that context they thought it was art. |
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cant believe musicians/djs like that are a thing in brit television. like i couldnt believe the young ones exist or absolutley fabulous or black adder or, or, or german tv of the times is so lame in comparison |
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Its weird how different cultures develop innit |
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indeed |
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epic: considerung the ground loop isolator takes away frequencies i would only assume its natural for folks to insist on not missing those frequencies in their indulgence of music. quickly asking the net about it shows that apparently those cut freqencies appear to be unhearable by the human ear, but that may differ from isolator to crapsolator and human to superhuman. anyway is was basically thinking "unwanted noise" -> gl-isolator |
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im sorry d00d it did sound patronising, was just reeling off what i thought generally i guess.. was drinking rum+tea waiting 4 train out of weird place Backwater UK i'm not particularly english, but... leeds? Fuck spectrograms use your ears spectrogram thing is about trying to learn to ID frequencies by ear make stuff for your setup, i do make stuff for my setup. but, while this may sound weird, i kind of want other people to hear it too; sound good on their setup. but, your core point, make stuff for you, yourself, way ahead of you. you can tell because i'm less popular than you are. because it's more for me than your... i'm bored of this next thing keep the stems.... what stems? i record stereo to hard disk. when i plugged my mixer into the usb port that's all it'd let me do. i hate editing live recordings anyways As soon as you think "i could do this and it MIGHT sound better on this hypothetical system" STOP, unless you have it to test it on. i don't think anyone will actually ever play "da club" in da club. it was more i just got into reading about it and i found that quite fascinating -- the physics of a bass waveform; how most clubs have sonic sweet spots arising from that. that i was just fascinated by the thot process behind that, and this is as i'm googling and trying to answer some ??? mastering halp but the other point -- unless you can try it out, fuck that -- fair enough, i'll update my policiez there but i am still interested in how people who can try it out in da club think about bass. i suppose there are other things too; OSHA makes you cut the midrange because something something internal organs. but i'm less concerned with how OSHA thinks |
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but anyways, i've yet to hear a single coherent opinion about how to low cut the bass. like, i think we agree, it's an important and standard thing to do -- roll off the low end. cut out the freqs no audio system could ever produce before you brickwall it to avoid wasting bandwidth. figure no arguments there then i've subjectively noticed that too much low bass in certain zones is, as described, punishing. feels bad on the ears. but where; how much? where do you start rolling it off? how sharply do you drop it? obviously it depends on the music, but we all do similar sort of fings here, so that's why i'm actually still [futilely?] attempting to extract an answer: acid dub 'n' breaks, how do you feel one should roll off the bass? i also wonder about something something harmonics aliasing |
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so after stressing how to merely EQ the bass i then use a multi-band compressor where i can have four bands or three and i can drag them around and compress them differently and gain or lose them and alright i'm inside the belly of the whale now |
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i feel i can just ear my way through and seem like i have a clue through past 200hz but below that there's a lot of... how does it sound on headphones? ...in the car? and i'm looking to cut that nonsense short, plzkthx. |
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, barbie? |
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steve, sir, part of why i was annoyed... patronized, sure, felt that, but it was also quite, like, c'mon c'mon i've seen this episode before; fast forward your advice has generally been solid and i just want, i dunno, the answer i want, which is: 1) some basic attitude to remove the absolutely useless/wasteful signal range 2) if you had to set up a mix/master happy path lazy mofo signal chain to just use on everything acid 'n' breaks what would it be. it's not that i'm looking for a formula; i just need a bit of direction. and you are smarty man even just something to read. i should get the book i already have by Famous Mastering Guy off the shelf but stems, lol. i've been having a proper chuckle over that bit. i'm not even sure how i'd... what would the stems even be? i have an arturia keystep pro, then a beatstep pro that i don't use much; just an overflow if i want a few moar trax. those two fuckers have changed my life but it drives me banonkers that you can't change some settings without plugging it into the computer! and at that point, well, yes, usb actually can be far tighter than midi ever fucking could be but i love midi, i love the sloppy, i love how sometimes the machines will take a dump and lag out that normally, i guess, you'd use the busses on the mixer to record stems, or something. instead, i have one going through a bunch of the moog grandmother's modules, so i can use it to sort of shuttle any track into it like an envelope follower. the other one, i dunno, depends on my mood. most typical is into pitch cv somewhere then i typically have 2-3 delay units commiserating; bouncing off one another. would i stem those individually or are they a collective stem? are the aux audio busses i'm abusing as cv stems or not? thx. |
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but perfectly solid, clean recordings, wavs, of course? |
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i was trying to find a thing i mean so i could upload an mp3 but instead i found out that eigenschnauzer was but the tip of the iceberg and i cut out like six minutes that, well... it's better than i thot it was at the time so instead of an mp3 of what i was thinking, i found something i'd forgotten that still makes my point: like 3:14 or so, you can hear the kick drum very obviously driving the synth arp. 3:24 you hear... well, behringer model d set with envelope driving pitch with a reallly long tail; you get that whooooooouahg. then the buss that isn't driving the moog goes into that; you can hear it flap flap modulate. then you get into the more interesting stuff; i am moving the buss faders up and down to taste in realtime; i am dropping things in and out of it. i guess if i had a really nice audio interface like... oh, i dunno, the fireface 800 i had to sell off years ago because of financial doom, i might be able to record everything split out... but then it'd all have to go to the computer, and i'm sorry, i'm not plastikman |
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or shit it's just another take ah well you can hear what i'm on about in any case: stems? lol |
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better question is, i'm doing 24-bit 44100, and the gfx overlay on the mixer proudly boasts 192k. 48000 leads to the obvious van-halen conundrum; it's the wrong speed! but then 88200? 176400? i'd be lucky to hear past 18k these days, nyquist sez i get 22k out of 44100 already, but something something aliasing crush i'm inclined not to fuck with it. 441004lyfe |
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everything i record, even the total shit, is just automatically in my REAPER media pholder with a timestamp and i have some ssd drive as a backup and i rsync it all to another computer which then goes to a pair of mirrored backup drives i keep on a shelf eventually. but i have no offsite and i know people that would scream at me that this means i have no backups at all ...but, yes. i have all the original, unfuckd/w avephorms. i think normalize might be destructive. but that's just a dumb math op |
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