If anything, that reinforces my impression of earnestness.There is a term in psychology, transience, which is about memories degrading and becoming fuzzy over time.
google 'audio tape degradation'
Analog and Digital - The Psychic Method - Tutorial Series
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
"just check the website link in the op's sig.. some hilarious trolling..." If anything, that reinforces my impression of earnestness.
There is a term in psychology, transience, which is about memories degrading and becoming fuzzy over time.
google 'audio tape degradation'
If anything, that reinforces my impression of earnestness.There is a term in psychology, transience, which is about memories degrading and becoming fuzzy over time.
google 'audio tape degradation'
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- Banned
- Topic Starter
- 194 posts since 25 Oct, 2015 from Penetanguishene, ON
Mm, well it will be a good tutorial when I get around to it
*looks for randomisation thread in effects section.
*looks for randomisation thread in effects section.
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- Banned
- Topic Starter
- 194 posts since 25 Oct, 2015 from Penetanguishene, ON
Hey guys, I updated a guide to using a certain EQ. Which alternatively can be fruity's stereo shaper.
find that here:
http://www.kvraudio.com/forum/viewtopic ... 6#p6307556
Works so great, and it's free. As for a guide and in the intrinsic why, and how-to's; I'll make a slick .pdf file.
I'll be including the findings of my terminal feedback theory and how to prevent each channel from pushing too much feedback into your end customers drivers.
I mean, you could buy the basic fruity loops (heaven forbid) get all these plugins - Follow my instructions, and the most unskilled beginner ccan be making studio quality music in no time.
Godlike 2.4 - 3 sure is something as well. And If I have a chance to test it - I'll post regarding what it can do in this capacity (emulating analog).
find that here:
http://www.kvraudio.com/forum/viewtopic ... 6#p6307556
Works so great, and it's free. As for a guide and in the intrinsic why, and how-to's; I'll make a slick .pdf file.
I'll be including the findings of my terminal feedback theory and how to prevent each channel from pushing too much feedback into your end customers drivers.
I mean, you could buy the basic fruity loops (heaven forbid) get all these plugins - Follow my instructions, and the most unskilled beginner ccan be making studio quality music in no time.
Godlike 2.4 - 3 sure is something as well. And If I have a chance to test it - I'll post regarding what it can do in this capacity (emulating analog).
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- Banned
- Topic Starter
- 194 posts since 25 Oct, 2015 from Penetanguishene, ON
Hi All, I'm very close to having a working model that people can work with. This will include a list of downloads and url's I'll also provide a .pdf for instruction and plugin presets and channel mixer state settings for those using fruity loops.
I hope the presets work for other platforms.
I recently came across a program called tascam which up-samples to 88.2 (The nicest frequency... ever!
)
you can grab that here:
http://www.studiodrive.de/?t=plugin_det ... cat=30&os=
Maybe you guys have it here linked - I'll check later mods and replace link if you do.
Anyways - Seasons Greetings.
I hope the presets work for other platforms.
I recently came across a program called tascam which up-samples to 88.2 (The nicest frequency... ever!
)you can grab that here:
http://www.studiodrive.de/?t=plugin_det ... cat=30&os=
Maybe you guys have it here linked - I'll check later mods and replace link if you do.
Anyways - Seasons Greetings.
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- KVRer
- 25 posts since 5 Jun, 2007
Hi Le Attol,
I am an aspiring producer who is always on the hunt for new information! Obviously you have been at this a while. How long did it take you to understand all the technical information you have acquired?
Do you think it would be worth it to learn analogue production first so I can understand the principles before applying them to digital? Or is that the long way round?
For example, I do not understand what compression is supposed to sound like. I know what it does in principle, but no matter what setting I use, I cannot hear any difference in the sound? I just twiddle knobs and it all sounds the same.
I am an aspiring producer who is always on the hunt for new information! Obviously you have been at this a while. How long did it take you to understand all the technical information you have acquired?
Do you think it would be worth it to learn analogue production first so I can understand the principles before applying them to digital? Or is that the long way round?
For example, I do not understand what compression is supposed to sound like. I know what it does in principle, but no matter what setting I use, I cannot hear any difference in the sound? I just twiddle knobs and it all sounds the same.
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- KVRian
- 1392 posts since 28 May, 2008 from Saint Paul, MN
If you're confused,
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- Beware the Quoth
- 35438 posts since 4 Sep, 2001 from R'lyeh Oceanic Amusement Park and Funfair
No, you came across a program by Tascam. Tascam is a company. The software, called 'Hi-Res Editor' originally comes from herewolverine6 wrote:I recently came across a program called tascam which up-samples to 88.2 (The nicest frequency... ever!
you can grab that here:
http://www.studiodrive.de
http://tascam.com/product/hi-res_editor/
Have fun upsampling tons of stuff to an 88.2Khz sample rate for no reason whatsoever. Its not like it'll actually add any frequencies above 20Khz, but of course that wont matter to you since you dont have a clue what any of this stuff actually means or any intention of trying to find out how it works beyond the technobabble wall of shite you've constructed for yourself.
An idiot on Set Theory:
"In some cases there is an object called red that contains everything that is red. In much the same way a pot is a plate."
"In some cases there is an object called red that contains everything that is red. In much the same way a pot is a plate."
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- Beware the Quoth
- 35438 posts since 4 Sep, 2001 from R'lyeh Oceanic Amusement Park and Funfair
Hmmmm. Insanely naive or sockpuppet?Sandy wrote:Hi Le Attol,
I am an aspiring producer who is always on the hunt for new information! Obviously you have been at this a while. How long did it take you to understand all the technical information you have acquired?
An idiot on Set Theory:
"In some cases there is an object called red that contains everything that is red. In much the same way a pot is a plate."
"In some cases there is an object called red that contains everything that is red. In much the same way a pot is a plate."
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- KVRAF
- 16977 posts since 23 Jun, 2010 from north of London ON
Seems familiar. Possibly both?whyterabbyt wrote:Hmmmm. Insanely naive or sockpuppet?Sandy wrote:Hi Le Attol,
I am an aspiring producer who is always on the hunt for new information! Obviously you have been at this a while. How long did it take you to understand all the technical information you have acquired?
Barry
If a billion people believe a stupid thing it is still a stupid thing
If a billion people believe a stupid thing it is still a stupid thing
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
The way this is phrased really smacks of a shill, don't it. That bit topping off this thread, how it's been already, makes it almost surreal.whyterabbyt wrote:Hmmmm. Insanely naive or sockpuppet?Sandy wrote:Hi Le Attol,
I am an aspiring producer who is always on the hunt for new information! Obviously you have been at this a while. How long did it take you to understand all the technical information you have acquired?
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- Banned
- Topic Starter
- 194 posts since 25 Oct, 2015 from Penetanguishene, ON
Oh Hi guys - Sorry I was busy for the Christmas season. And I used to hang out with audio techies. I was a youth - And they wanted to show me how cool they were. I learned a lot - but of course, I do not have a "degree" in it per say.
Thanks for the nice comment. I'm still making a pdf for this. I'll be making some loops packs soon, I'll pm you when I get em uploaded.
And to your question - It has more to do with controlling the ambience - And finally the fade.
A fade out you see in analog - Gradually and gracefully diminishes. So an analog level (40k+) synth has a better sustain. Wether you hear everything in that fade is not neccesarily the issue - But how smoothly and how cleanly it diminishes.
Many 44.1 audio tracks have hidden potential. In fruity loops just by turning through the time stretching modes you can hear a fuller sound. "transient" "pro transient" and "speech" - "Tonal" for midi or lofi sound.
I suppose the way I see analog per say is not ion the sense of emulating its irregularities or quirks such as warmth - Saturation or drive - But instead working in this digital age with what it could be; How it could have been if there was a medium thaty did not scratch
Anyways - I'll let you know when the pdf is done.
And to the others - egg me all you like - I used to be a mod admin on many forums - I just don't get phased. peace.
Thanks for the nice comment. I'm still making a pdf for this. I'll be making some loops packs soon, I'll pm you when I get em uploaded.
And to your question - It has more to do with controlling the ambience - And finally the fade.
A fade out you see in analog - Gradually and gracefully diminishes. So an analog level (40k+) synth has a better sustain. Wether you hear everything in that fade is not neccesarily the issue - But how smoothly and how cleanly it diminishes.
Many 44.1 audio tracks have hidden potential. In fruity loops just by turning through the time stretching modes you can hear a fuller sound. "transient" "pro transient" and "speech" - "Tonal" for midi or lofi sound.
I suppose the way I see analog per say is not ion the sense of emulating its irregularities or quirks such as warmth - Saturation or drive - But instead working in this digital age with what it could be; How it could have been if there was a medium thaty did not scratch
Anyways - I'll let you know when the pdf is done.
And to the others - egg me all you like - I used to be a mod admin on many forums - I just don't get phased. peace.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Well anyway... it should have been noted from the start of this weirdass thread that this is not a music theory topic at_all. It belongs in "Production Techniques" or something.
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- KVRAF
- 16738 posts since 13 Oct, 2009
Tansience, is an important concept in The Wire. I really can't say any more than that, because 1) I'm under non-disclosure, and 2) it's really well beyond my understanding. I'll definitely be watching this thread evolve.wolverine6 wrote:Oh Hi guys - Sorry I was busy for the Christmas season. And I used to hang out with audio techies. I was a youth - And they wanted to show me how cool they were. I learned a lot - but of course, I do not have a "degree" in it per say.
Thanks for the nice comment. I'm still making a pdf for this. I'll be making some loops packs soon, I'll pm you when I get em uploaded.
And to your question - It has more to do with controlling the ambience - And finally the fade.
A fade out you see in analog - Gradually and gracefully diminishes. So an analog level (40k+) synth has a better sustain. Wether you hear everything in that fade is not neccesarily the issue - But how smoothly and how cleanly it diminishes.
Many 44.1 audio tracks have hidden potential. In fruity loops just by turning through the time stretching modes you can hear a fuller sound. "transient" "pro transient" and "speech" - "Tonal" for midi or lofi sound.
ghettosynth wrote:I really can't agree with this at all. I've found that some plugins are just so useful, they're like magic. For example, I use a Reaktor patch called The Wire on every single track of every single project. Sometimes, I will even load it more than once, either stacking it on the output, or loading it in between other effects. The wire is nothing but a pure DSP thru bus, but, the magic is in the length. It only works if you have a large monitor, smaller monitors just don't have enough travel length.Lotuzia wrote:The best VST on every project is the one that I dont have to use because everything is OK with the sound sources themselves.Joshgermon wrote:I have been reading up on a lot of effects recently after getting down the basics of my new DAW and would love to see what is your go to VST plugin! It's always interesting and informative to see what other people use!
As the bits travel through The Wire, they are stripped of digital dirt and grunge that they pick up while being processed with other plugs. Additionally, and this is why the length matters, they will realign their phase owing to the carefully spaced parallel wires and the speed of the bits traveling through the wire. This requires a minimum length of parallel virtual wires and so you need at least a 30" monitor in order to use The Wire.
The impact on the depth and clarity of the audio is amazing. The soundstage widens and opens up and become, dare I say it, three dimensional.
I can show you a picture of the internals setup for a particular non-standard bit rate, however, keep in mind that this isn't just something that you can build yourself, even with a picture, the length is critical for proper phase alignment and, naturally, it's different for different bit rates. Moreover, the relationship isn't linear, so you can't just double the length going from 48k to 96k, for example. The Wire isn't cheap, but, when you consider what it does for your music, I'm not sure that you could name a price that wouldn't seem like it's a steal.
I'm a distributor for The Wire, and I can probably get you a discount if you're a reasonably successful artist and you're interested in promoting The Wire on your website, pm if interested.
The Wire is purchased separately for each bit rate that you are interested in, some artists try using the wrong bit rate The Wire for special effects, but it's neither recommended nor supported. This is a precision tool for precision engineers.
http://postimg.org/image/hs1ye6ogv/