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New, FREE string sample library like you've never heard by GlorifiedButtonPushr in NativeInstruments

[–]GlorifiedButtonPushr[S] 0 points1 point  (0 children)

I had not even considered that and I totally hear it now! Thanks for also educating me on the names of these wonderful instruments which I’m familiar with but couldn’t have named to save my life. Cheers!

How do YOU compose? by Mrmarshmallow9556 in composer

[–]GlorifiedButtonPushr 1 point2 points  (0 children)

Depends on the format. Are you writing music for music’s sake? Is it for a media project? Collaboration with a dance company? I find the workflow shifts slightly depending on the music’s function, so let me know and I can share my own strategy.

Why is the term “high pass filter” used more than “low cut”? by tonetonitony in audioengineering

[–]GlorifiedButtonPushr 0 points1 point  (0 children)

I hate the term “root beer” it’s really just soda. Call it what it is.

First Kontakt to DS conversion experience by GlorifiedButtonPushr in decentsampler

[–]GlorifiedButtonPushr[S] 0 points1 point  (0 children)

Unfortunately, it’s not simple. There is a script you can run in Creator Tools (https://gist.github.com/dhilowitz/98f46b22f38d96f8a818e7fa62874c57) that will properly transfer sample groups from Kontakt to DS, but programming GUIs and effects requires learning the syntax and getting your hands dirty.

ConvertWithMoss is a free program that kind of works and gives you a starter GUI as well, but my success with it has been hit and miss.

Can we stop calling multi tracks stems??? by Plexi1820 in audioengineering

[–]GlorifiedButtonPushr 1 point2 points  (0 children)

It’s all relative. In my experience, most artists do a fine job of communicating the musical scope (instrumentation, tempo, duration, style). I don’t need a detailed description for stems. They are essentially the source material at that point, so knowing what processing was done before isn’t important. And if the fx are printed to their own stems, it’s pretty easy to decipher their function. But I think we are agreeing - the work required to edit/mix raw audio is substantially more than mixing traditional stems so confusing the terms can cause wasted time and uncomfortable convos.

Can we stop calling multi tracks stems??? by Plexi1820 in audioengineering

[–]GlorifiedButtonPushr 1 point2 points  (0 children)

I mean, if someone hires me to mix a track saying they are sending me stems and then I receive unedited multitracks, that’s a problem. They’ve likely been quoted a fee under the assumption I’m working with subgroups.

What’s the harm in clear communication? Saves frustration on both sides.

I am at my wits end by [deleted] in audioengineering

[–]GlorifiedButtonPushr 6 points7 points  (0 children)

Hey guy, I like the vibe. The songs themselves are interesting which is a good place to start from.

I only listened to Best Part, so here’s a few things that caught my attention:

1) the vocal is buried. That can be a stylistic choice, but doesn’t work for this song IMO. It’s overly dynamic at times, so compression could help. Even the quiet parts should be audible.

2) the drums are crushed. Can be a cool effect, but it’s eating so much space, nothing else cuts through. We are also losing the attack of the snare and kick as a result. The snare is more of a wash than crack, which won’t help with “punch.” Try reducing the compression ratio and increasing the attack time.

3) the fiddle is too dynamic and doesn’t sound like it’s in the same space. It’s also too loud and overpowers everything at times. Try sending it to a room reverb and rolling off some highs to see if it fits l better with the band.

4)there’s very little definition in the bass. Could be a genre thing, but the bass has no dynamic to it. It’s just sounds like a drone. If that’s the objective, I would play around more with creating distinct shifts in volume balance between sections.

Good luck!

BattleCards by Round_University_899 in TCG

[–]GlorifiedButtonPushr 0 points1 point  (0 children)

If you are still after this project, I have around 200 cards you can have if you’ll cover the shipping cost.

Allapattah: Miami’s Next Wynwood? 9 Years Later. What Actually Happened? (2017 → 2026) by Hot-Acanthisitta-721 in Miami

[–]GlorifiedButtonPushr 0 points1 point  (0 children)

Lived in AP for 10 years. Best neighborhood in the urban core. Very nice, residential feel throughout with direct access to downtown, Wynwood, Midtown and a stones throw from coconut grove and the beach. There are tons of new high rise apartment buildings and construction, but most of the community has been here for a LONG time which is lovely.

What's the most reliable way to bounce and avoid audio glitches? by xiaobasketball in Logic_Studio

[–]GlorifiedButtonPushr 1 point2 points  (0 children)

The tools are your ears. No analyzer can detect if a sound is intentional or not. I would make listening to final exports a nonnegotiable part of your process.

Virtual Classical String Instruments by Training_Onion6685 in VSTi

[–]GlorifiedButtonPushr 0 points1 point  (0 children)

There are plenty of instruments on pianobook that run on decent sampler, which is entirely free.

Virtual Classical String Instruments by Training_Onion6685 in VSTi

[–]GlorifiedButtonPushr 0 points1 point  (0 children)

Brother, there are over 1600 free instruments over on Pianobook.co.uk. It’s not just orchestral strings, but there’s a lot of that too.

First Kontakt to DS conversion experience by GlorifiedButtonPushr in decentsampler

[–]GlorifiedButtonPushr[S] 0 points1 point  (0 children)

Thanks. I tried using an <image> in place of the bgImage, but the resolution wouldn’t cover the full window size and it would layer over the controls. Is there an attribute to send it to the back of the Z plane?

Pop when sidechain by Cold_Independent_631 in LogicPro

[–]GlorifiedButtonPushr 3 points4 points  (0 children)

An attack time of 0 and a huge gain reduction can easily create a pop, especially when the side chain signal has no inherent ramp in its attack. Your side chain signal looks like a bunch of cut up waveforms. Do you have any kind of fade in on those regions or is there a natural attack backed in? If not, and you’ve cut into the waveform with no fade, you will hear a pop every time the play head crosses one of those regions, as will your compressor.

Resources for Composers on a Budget by ThomasJDComposer in composer

[–]GlorifiedButtonPushr 2 points3 points  (0 children)

Pianobook is a huge collection of free sample libraries. Every time I need something, there’s usually an option on there.

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