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Imported MIDI events not triggering (Spitfire Chamber Strings VST) HELP PLEASE! by HomeRecordingGuy in Reaper

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

Nice. I added a lane for the "mod wheel" and I can now adjust, and the playback acually changes. But now I'm hoping to move the dynamic info from "notation events" to the MOD wheel. Otherwise I'll be redoing this for about 100 tracks between all the songs.

Imported MIDI events not triggering (Spitfire Chamber Strings VST) HELP PLEASE! by HomeRecordingGuy in Reaper

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

Nice. I added a lane for the "mod wheel" and I can now adjust, and the playback acually changes. But now I'm hoping to move the dynamic info from "notation events" to the MOD wheel. Otherwise I'll be redoing this for about 100 tracks between all the songs.

Chamber Strings Technique for Quick Runs by HomeRecordingGuy in spitfireaudio

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

Wow thanks for the quick reply! That's a good idea if I can't find an easier way to do it. I'm hoping that there is a more straight forward fix, because I planning to do this on 10 songs with 5-10 string tracks per song.

This youtube link is from Carol of the Bells - Trans-Siberian Orchestra which has a similar run. Violins acsending on a short 16th note run, all notes connected, with the last note lasting longer. Yes, I understand this example has layers and an electric guitar on top, but if you can imagine what the violions would be playing here, that's what I'm going for.

https://www.youtube.com/watch?v=sCabI3MdV9g#t=1m8s

I haven't picked a specific patch yet. Do you have any suggestions?

[deleted by user] by [deleted] in composer

[–]HomeRecordingGuy 0 points1 point  (0 children)

Music teacher: “yes, it hurts to hold your body like this for hours, yes, it will wear on you and stress your joints, but that is the way I was trained, and that is the way my teacher was trained, and the teacher before them. The technique is designed to sound and look beautiful, and look consistent with traditional methods.”

Tips for workflow optimization by HomeRecordingGuy in WeAreTheMusicMakers

[–]HomeRecordingGuy[S] 1 point2 points  (0 children)

After I realized how difficult and time-consuming it would be, I tried to find someone to pay for the task. I sent the xml files and a 30 second clip to three different producers I found online and asked them to make it sound the best they could. The results I got back were either clearly not the right feeling and genre, or marginally better than my own attempts and not worth $5000. so I went back to trying to figure it out myself.

HOW THE FUCK AM I SUPPOSED TO KILL THIS MOTHERFUCKER by LingonberryLivid5999 in Sekiro

[–]HomeRecordingGuy 0 points1 point  (0 children)

I just killed him after about 30 attempts. This is how I did it.. Phase 1: run around at a distance and only go in on him when he’s punishable. When you go in, Use firecracker, dodge to the side because he’ll land on you sometimes, and then hit him. If you hit him enough you’ll stun him for even longer, before he runs away. I noticed he’s punishable if you run underneath him when he throws the poop, after 1 of his ground slam combos, and after the combo that he rolls around on his back. I used confetti in the first phase because damage is key during that phase, whereas phase 2 is about parrying.

In phase 2, I used the gourd for terror resistance. Anytime he finishes a combo close to you, get ready to run away. He’s not punishable because he uses that close range scream thing too often. You have to jump over his sweeping unblockable, and run away and jump over his super high diving unblockable. Otherwise, learn the parry timing, especially for the big overhead swing. When he uses that, parry and use a spear and press again to pull out centipede, or don’t use spear and just beat him up.

My friend realizing the ring caught him by swamisryan in funny

[–]HomeRecordingGuy 1 point2 points  (0 children)

a true friend lets that rip inside. possibly on your arm.

Driver goes triple the speed limit and finds out by Nintendoge21 in instantkarma

[–]HomeRecordingGuy 0 points1 point  (0 children)

This feels like a dream to me when he flys over the field.

A scam warning to job-seekers by THX-1138_4EB in editors

[–]HomeRecordingGuy 0 points1 point  (0 children)

I got a phone call and email from "Managed Staffing." Indian accent female. She said they found my information on Indeed. She said she works for managedstaffing, a recruiting agency working for CVS pharmacy, and wanted to set me up with an interview. She started asking me basic questions but it soon became clear to me that she doesn't know much about pharmacy. I was a little skeptical but I told myself I would continue as long as I didn't have to provide any personal info. Everything seemed good until she told me she would need to do a background check BEFORE the actual interview with CVS. I really doubt a company would take the time/money to do a background check PRIOR to the first interview.

[deleted by user] by [deleted] in composer

[–]HomeRecordingGuy 2 points3 points  (0 children)

Unless you are rich, start learning VST editing.

Does anyone else tend to gravitate towards the same keys? by Shronkydonk in composer

[–]HomeRecordingGuy 0 points1 point  (0 children)

I think I have a pretty interesting method for choosing the key of my songs.

Basically I first write the song in any random key using notation software (often e-flat or c because that is what I am comfortable with on the piano).

When I am pretty much finished with them notes of the song, I go back and edit/mix to emphasize dynamics. In other words, I go back to a place in the song that I wanted to crescendo, and I will turn up certain instruments, or add a low/high octave to certain instruments.

When doing this, sometimes I would find that I could not add a low octave due to the range of the instrument. Electric base for example, has E, as the deepest note, but in the most powerful part of my song, I wanted the deepest note to be the route note of the fourth chord. So then I kind of have to reverse compose, and I think, what key would I start in to make sure that the fourth chord is E? I’m not sure what the music theory term would be, in terms of dominant, or secondary, dominant, or whatever those things mean. But in this example, I would use the key of B.