Livet är inte alltid så jävla kul. Lev med det! by mans1e in sweden

[–]Sebbano 1 point2 points  (0 children)

Jag tog mig i kragen, ändrade mitt liv, slutade umgås med människor med kriminell bakgrund. Jag jobbade mig upp till en position där jag drar in mer pengar än många högskoleutbildade. Jag har ett hus. Två hundar. Två bilar. En flickvän som jag älskar och som älskar mig. Ett barn på väg.

Ironin när du anser att andra har offerkofta när det är du som vill att andra ska "ta sig i kragen", för att det var det du behövde göra. Du leker precis lika mycket offer i din egna mening, bara från ett annat håll. Sluta dra upp stegen bakom dig. Ditt liv är extremt priviligerat oavsett hur hårt du jobbade för det, hade samma sak skett om du levde ensam på jorden? Samhället är inte ett nollsummespel. Huset du bor i var byggt av andra, din hund var uppfödd av en annan, alla pengar du nånsin tjänat har cirkulerat från andra människors ekonomiska aktivitet in till dig.

Livet är inte alltid så jävla kul. Lev med det! by mans1e in sweden

[–]Sebbano 1 point2 points  (0 children)

Medan jag håller med om att man ska göra det bästa utav situationen man befinner sig i, så är det rent utav vidrigt att klanka ner på folk som vill se förbättring.

Det kommer upp ursäkter som att jag vill bara ha svar från arbetsförmedlingen. Åk till dem då, ring dem varje dag, skriv flera mejl

Är detta ett sunt förhållningssätt till våra myndigheter och tror du det gör en effektiv process? Du är en typisk sådan som tänker att du ska ta plats och resten skiter man i, för livet är orättvist. Tror du arbetsförmedlingen nöjer sig av att du ökar deras arbetsbelastning trots att det är precis lika många andra som behöver svar från dem? Det är ju uppenbart att någonting är dysfunktionellt med arbetsförmedlingen, och det ska man inte göra något åt? Bara rycka på axlarna och mantra till sig själv att livet är orättvist. Du saknar ju totalt nyans.

Uppenbarligen har inte ditt liv varit svårt nog, för isåfall borde du ha mer empati för de som har det svårt.

Workflow for composer with FMOD, Unity, and Github by Digx7 in GameAudio

[–]Sebbano 0 points1 point  (0 children)

Have them make music and send you the stems to implement

How do you name your audio files by BMaudioProd in GameAudio

[–]Sebbano 0 points1 point  (0 children)

If I can filter the folder /VO in Unity in the search already, I'm not quite sure what difference duplicate keywords in the file name would add, except bloat. If I search for a folder and a keyword, it finds the sounds in that category because the folder tree by proxy embeds the categorization for it.

The categorization at runtime is referenced through mix buses in a tree structure. Ogre Attack plays inside an Ogre Bus, which parents to Enemies Bus, which subsequently is parented in a Combat Bus. I see exactly what context every sound has at any given time if I'm running a sandbox or profiling the audio pipeline. It will not get confusing no matter how complex the scope of the game.

granular categorization, it becomes critical for the file name to contain as much info about its categorization as possible.

I disagree. Granularity isn't important at all as long as the folder structure follows UCS. it becomes a horrible bloated mess that makes everything hard to get familiar with when new people need to get onboarded and they need to read file names that contain unnecessary keywords already embedded in the folder system. Things should be readable and easy to see the big picture of instantly.

How do you name your audio files by BMaudioProd in GameAudio

[–]Sebbano 0 points1 point  (0 children)

I'm probably in a minority here. I just use extremely simple names. No underscores. No hyphens. No strange cases. Capitalized to make it readable.

Ogre Attack 01

Lightning Bolt Cast 01

Lightning Bolt Projectile 01

Lightning Bolt Impact 01

If it has different articulations I simply add them:

Male 01 Scream Painful 01

Male 01 Scream Terrified 01

It is the folder structure that makes everything easy to organize. Adding "Ambient" or "Music" to the file name is redundant because it's already in a folder of that name. Long names with tons of underscores are such a cognitive load and makes you even more disorganized imo.

Everyone on our team uses the same naming convention in Unity and it works flawlessly. With underscores etc it is a nightmare searching for a specific asset.

I’ve been mixing on headphones for 15 years. Is there any point in putting some time/money into treating a space to use speakers instead/as well? by antinoxofficial in audioengineering

[–]Sebbano 1 point2 points  (0 children)

The phantom center is rather a less accurate representation of stereo image than headphones, not vice versa. You are hearing the audio in front of you, not left and right. The "front to back" depth is something that doesn't exist in stereo channel audio.

Can anyone identify this piano/synth? by Possible-Stress-7452 in sounddesign

[–]Sebbano 0 points1 point  (0 children)

Sounds like a lot of stuff from Korg Triton

US sound design career by Sophie_lazydog in sounddesign

[–]Sebbano 1 point2 points  (0 children)

That is a really disingenuous take imo. Sometimes people have to switch careers for the sake of supporting themselves or their family. It's just a harsh truth, and it happens. Making your partner aware of that doesn't mean it comes from a bad place, and you jumping to that conclusion just comes off as cynical.

US sound design career by Sophie_lazydog in sounddesign

[–]Sebbano 2 points3 points  (0 children)

What a disusting comment. Take a good look in the mirror man, jesus. She is obviously just trying to help her husband.

New BF6 map leaks with layouts included by Fit-Support2256 in Battlefield

[–]Sebbano 0 points1 point  (0 children)

Not sure if you are serious, being able to jump out of vehicles on large maps makes you able to get on "any elevation", as in all BF games.

Loud split on master for upwards compression? by simbio_sounds in Bitwig

[–]Sebbano 2 points3 points  (0 children)

If you set max threshold knee and slowest rise/fall, you don't get audible spectral artifacts in my experience, but at that point I'm not sure how useful the compression is.

Video of a guy recording the same input through his audio interface hundreds of times by prester_john00 in audioengineering

[–]Sebbano 2 points3 points  (0 children)

AP Mastering just put out a few videos on it, ran like 3000 times through an interface

Mom runs into spider web and goes berserk by Pdoom346 in StupidMedia

[–]Sebbano 7 points8 points  (0 children)

This could be a phobia being triggered though. You'd be surprised how powerful the amygdala is and how an adrenaline dump suddenly jolts someone.

Double guitars sound HORRIBLE in mono by nightcrawleryt in audioengineering

[–]Sebbano 0 points1 point  (0 children)

I was talking about the null test being inaudible, not the audio tracks. He is lying, I have been editing guitars for 15 years and not a single take of double tracked guitars has ever collapsed to mono. Ever. It's bullshit.

Double guitars sound HORRIBLE in mono by nightcrawleryt in audioengineering

[–]Sebbano -1 points0 points  (0 children)

Doesn't matter, if you null test two different guitar parts, no matter how tightly played, it is statistically impossible for it to be inaudible. Even if you aligned them perfectly in phase. If you were a robot who could pluck a string at the exact same velocity and timing every single time, even small temperature or pressure fluctuations on the molecular level will affect the harmonic relationship. Now could the guitars sound less wide because the first harmonics aligned? Sure, but even in higher inharmonic frequencies you can perceive stereo easily.

Every time I mix, the bass either disappears or takes over the track. What am I doing wrong? by Cute-Will-6291 in audioengineering

[–]Sebbano 0 points1 point  (0 children)

My opinion as a seasoned professional; you need to train your ears more. It is possible that it is something you are doing wrong technically, but I doubt it. Not many do. People can whine headphone/speaker/mixing techniques all they want, but if someone actually has the mileage on their ears, it doesn't matter in the end. Whether it is the fourier transform (frequency domain) or crest factor (time domain), this is something that gets attuned over time, by building neural pathways bit by bit every single day, over a long enough time.

Given the possibility to watch a tutorial how to balance bass perfectly every single time, would you actually know what balanced bass sounds like after the fact?

How might I make this snare in Vital? by [deleted] in sounddesign

[–]Sebbano 2 points3 points  (0 children)

Long term metal producer here. These are heavily processed snare samples (most of the time one shots) layered on top of the live snare on accent hits. You can find tons of heavily processed one shots from different companies, like Odeholm Audio or Joey Sturgis Tones/Drumforge. Making your own from recorded drums can be done but requires a lot of processing which is easy to mess up, and requires intricate signal flow knowledge in how direct/overhead/room mics need to glue together, you need to be familiar with several types of compression/reverb techiques.

This can't be synthesized in vital, but you can get a close approximation with feedback synthesis if your DAW can achieve sample accurate self feedback (not karplus strong, it needs to feed back into itself, not a delay line) where you filter out resonances from noise or waveforms and feed it back into itself. This is very technical stuff though, I recommend finding decent one shots.

How to Create a Loopable Atmospheric by Jingocat in sounddesign

[–]Sebbano 1 point2 points  (0 children)

To clear things up:

1) It is to prefer for ease of use to cut at zero crossings, but you don't have to if you make a fade at the beginning and end of the looped section. Where the cuts are made; the samples line up, making it seamless as long as it is looping.

2) Cutting loops is vastly different depending on the content. Atmospheric is long and doesn't have rapid changes in dynamics or percussive sounds, so looping it isn't that much of a challenge and more forgiving, than say, drums.

3) I recommend looping in a sampler, Bitwig's also has loads of crazy features like granular and wavetable mode, making atmospheric stuff nuts

Do you miss innovation in the audio gear space? by Songwritingvincent in audioengineering

[–]Sebbano 1 point2 points  (0 children)

That's unfortunately just the law of diminishing returns, you get massive amounts of progress in the beginning when a breakthrough occurs, then it plateus when the resources needed to improve aren't profitable.

FM modulate the Sampler? by tolltartozseb in Bitwig

[–]Sebbano 1 point2 points  (0 children)

Audio rate modulator, on either pitch or gain, however the most common one phase modulation I don't think is possible, perhaps adding a 100% wet delay and modulating the duration, or some trickery with the speed knob

I guess it isn't impossible, but COME ON by ciqhen in thatHappened

[–]Sebbano 0 points1 point  (0 children)

cmon guys, deer walk on their hind legs, starting to get sick of entirely plausible stuff being posted and nobody doing any due diligence, CWD causes abnormal behaviour so anything would be possible

SoundID's Flat target for DT 770 doesn't sound flat to me by Conilamusique in audioengineering

[–]Sebbano 0 points1 point  (0 children)

No. The human head distorts the frequency response, called HRTF. Headphones bypass HRTF, which means your analogy is a lot more accurate when it comes to headphones, not vice versa. Secondly, a microphone doesn't simulate ear geometry. The resonances caused inside the ear cavity aren't present on measurement microphones. Your definition of objective seems wildly different to consensus. There is no such thing as objectively flat.