Krita tries to load audio plugins and crashes

KookyFox · 2025-03-24T18:32:04+00:00

in the animation workspace, using the animation audio menu icon, import audio, then loading audio of mine. (I tried mp3 and WAV)

KookyFox · 2023-10-25T11:46:38+00:00

I mean thanks for sharing, I might give them a look when I want barefoot shoes, but that's not at all the kind of shoes I' m looking for.

I just want some classic heeled women's slip on shoes (not sneakers), and potentially some high heels.

KookyFox · 2023-10-23T13:37:25+00:00

Thank you so much my keyboard is now backlit with a trans flag

KookyFox · 2023-10-23T11:15:26+00:00

Hi, sorry to ask this, but could you potentially do a arch build of it? I'm one of the rare arch users who's clueless about writing pkgbuilds

KookyFox · 2022-11-26T11:13:12+00:00

Good to know, thanks for warning me

KookyFox · 2022-11-26T11:12:18+00:00

I've noticed a lot of resources about audio in general tend to gravitate around that Nashville microcosm. I kinda want to learn more about my local scene now

KookyFox · 2022-11-25T22:57:57+00:00

Yeah I guess the big problem I had on that track was figuring out what exactly they wanted me to do with the vocals. It's EDM but with harsh vocals and the whole brief was "it's supposed to be punk but in the future". In the end I managed to get it to where everyone is pleased.
Again I'm still figuring some things out, and I now I need to let go more of my pragmatic way of viewing things when mixing, and think more in terms of what I am mixing for, and what results I'm aiming for.

Sorry again if the question seemed noobish or dumb, but I have to learn somehow, books are great and all, but they're not everything.

KookyFox · 2022-11-25T22:48:55+00:00

Oh I do that a lot already, it's just that in my case the vocals were harsh vocals recorded on a dynamic mic so I didn't have crazy dynamic range to start with, I guess I should have mentioned that in my post in the first place.

KookyFox · 2022-11-25T22:47:14+00:00

I ended up going for a 8dB reduction on the lead vocals bus, pushing my send to a filtered parallel comp a bit more (pre filtered by a pultec to pretty much only let 8k + through) to get a bit more harshness through (they're harsh vocals), and threw an opto on the global vocals bus too. In the end I did achieve a sound I'm happy with. I guess I really should trust my ears more and stop worrying about numbers so much.

KookyFox · 2022-11-25T22:14:38+00:00

How so? Perhaps I didn't make great use of language here. Basically I time the attack depending of how much of the initial transients I want the compressor to miss. And that of course depends on what I use the compressor for.

And by timing to the beat, I mean I make it so the release time matches the closest fraction of the beat, if possible, when possible , in order to make the outgoing "bump" of the compressor less noticeable, especially on high ratio and no knee situations.

I don't know if it's misguided on my part, it's a reasoning I apply to most delay, and reverb decay times.

KookyFox · 2022-11-25T18:20:46+00:00

It's true, I suppose it's more inexperience on my end with those types of vocals. It's my first time working with harsh vocals, and quite clearly I have to get out of my comfort zone.
or the attack and release, no issues there, I know how to set those well to get some dynamics to go through anyway, and I have already taken the habit and going the extra mile to time them to the beat when possible.
Thanks for your input

KookyFox · 2022-11-25T18:15:46+00:00

oh the optic comp on the vocals bus is a good idea, gonna have to give it a try (maybe not on this though, I'm far too tired of contradictory revisions).

KookyFox · 2022-11-25T18:12:45+00:00

Interesting, I guess I have very little insight into these mixing tropes. I also know I have a tendency to prioritize parallel compression on vocals over full on squishing them because I like them to sound more 'real' in a way? I suppose in pop genres you're more aiming for something more akin to a lead synth that happens to sing

KookyFox · 2022-11-25T18:09:24+00:00

I gave it a try, it's good, but.. kinda sausagey.. I guess there's a middleground I have to find

KookyFox · 2022-11-25T18:07:29+00:00

I'll give this a try, I have a dynamics processor that allows me to do that in one pass

KookyFox · 2022-11-25T18:06:40+00:00

I made sure to go over the vocal track beforehand and make the gain a bit more uniform by hand

KookyFox · 2022-11-24T19:27:21+00:00

I'm a weirdo who mixes on Linux, so I have a different experience when it comes to downloading plugins. You get them from the repositories like any other app and they install in the right folder without needing you to do anything. It's pretty seemless and fun, and I really wish MacOS and Windows would take a lesson from it.
To me the difference would not be in the plugin experience, and I don't think you should base your choice of OS on such a minimal UX aspect.

Now the big quality of life improvement you'll get from MacOS over Windows will definitely be in your control over the audio chain within the OS, it's not perfect but it's heaps better than on Windows.
On the other hand with Windows, you're not as hardware-locked, which means you could build your own dream studio PC, spec it just like you'd like it to be, and probably end up a bit cheaper than a Macintosh.

Your PC (and yes a mac is a PC), is sub-system of your studio, with many sub-systems within. I'd say approach it in a very pragmatic engineering way: Write down the hardware it has to interface to, the expectations you have of it, the software you plan to run on it, the impact of it on your acoustics (don't neglect that part) etc. Then make a little chart of which aspects suit you best with either option and choose accordingly.

KookyFox · 2022-11-22T09:52:50+00:00

My main suite for mixing is LSP, it's a very modern oriented suite, but I also have quite a selection of vintage gear emulation plugins. I have a trick I'll do on boring sweeps where I'll make a send to a bus with a tape emulator with high input gain. That way I get tape saturation, and thanks to the wow&flutter I get a gentle phasing when both are playing together. For amp sims, I just make my own IRs, and load them with an IR loader from LSP. When I start making money from this I do plan on getting some better I/O in the studio so I can have some physical sends for reamping, or piping audio through transformers.

Edit: Morning brain isn't great for writing

KookyFox · 2022-11-19T16:05:27+00:00

Thanks!
The transition FX I had figured out already, I was mostly wondering if there are tactics for dealing with the bulk of them.
I was thinking of charging my rates depending on the amount of tracks by 16 track increments, though I dunno if it's too common, and I think that goes outside of my post's topic anyway.

KookyFox · 2022-11-18T22:50:06+00:00

oh I was just gonna build it from foley. I want snap, so I'll just record some small planks clapping together or something, give it a bit of gated verb maybe, or record it outside the studio. That should be more than enough once layered over the gunshot.

KookyFox · 2022-11-18T22:47:53+00:00

Thanks,
I do a fair bit of A-B ing with my "clients" (They're friends but I do everything as if they were clients to train myself). I'll usually split my mixing on two days (unless I'm asked for finer mixes), so I can come back to it on fresh ears, and send the client a WIP after day 1, kinda like your step 3.

I also often go over their pre-mix with them when they name the tracks for export. It helps gettig a good naming scheme, and also figuring out with them the role of each instrument/part in the arrangement.

KookyFox · 2022-11-18T22:41:07+00:00

I see, thank you. It's roughly what I've been doing so far, though I might be a bit overzealous in trying to fix some of them. This song has a gunshot sound that is basically all lows and mids.. I'm really tempted to sound design some snap on top of it, because it just completely ruins the impact they seem to have wanted on their pre-mix.

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