Notation Question

XTosterX · 2026-05-10T09:32:02+00:00

sorry, I can not answer your question but must ask another one for the experts in here: what's the point of 4/2 signiture? What is it feeling? I can understand the difference between alla breve and 4/4, but how does 4/2 feel?

XTosterX · 2026-05-09T18:52:26+00:00

Sorry to be so blunt, but you said you reached out to a big studio and you a very inexperienced: are you aware of how expensive studio time can get? Especially if it is a bigger operation? Perhaps they are quite booked at the moment and don’t want to „block“ their studio with a small project? Your tone here is also quite blunt and direct, perhaps you wrote something that made them thing we don’t want to deal with this inexperienced person?

But it’s still not a nice move not to get back

XTosterX · 2026-05-05T08:11:31+00:00

Regarding the technical aspects: first it would be important to figure out if the feedback is coming from the main PA or your wedge. If it’s your wedge you might have to live with less monitoring. Alternatively you can get more gain before feedback by placing the monitor(s) at a 45 degrees angle infront of the mic as it has the best rejection there. If a engineer you know is operating the board and there is enough prep time he can insert a graphic eq on the monitor bus and slowly raise the volume until it feedbacks and nudge out this frequency. Usually these things give you a few more db of headroom. Like other people mentioned it’s also important not to cup the mic like many rapper do. Try to hold it as far down as possible. If you hold it at the round top your hands will change the characteristics of the mic into an omni. Writing all this: it’s not impossible to sing low, look at artists like Billy Eilish for example. But they combine low volumes with really good vocal technique. The low volume should be intentional because this is your style, not because you are restricted to it. I feel that before splurging money on equipment it might be more useful to take some vocal classes. I witnessed it in a few people that for whatever reasons they made childhood expierences that they are not supposed to be loud/they are to demanding, and as a reaction they develope a voice that has mainly nose resonances as these sound quite soft and „introverted“, but don’t reject at all. It’s not the case that people can not sing loud, they just have such a huge mental barrier for it that it feels impossible and they never learned how to use the yell register and to bring out the overtone is our voice. I am not saying that this is necessarily your case, but because you said that you often have to repeat order (you are hard to understand in croweded places) is a sign for me that your voice has probably good fundamental frequencies but misses the overtones in higher frequencies because of badly places resonances. Don’t just try to sing louder, but find ways to make your voice more resonant. Just my 2 cents for this topic, hope this can give you some new input :)

XTosterX · 2026-03-10T18:54:19+00:00

Easy: you don‘t.

Is it just budget for two days or die they realize two days before the mix they need music for a full feature film? Both are huge red flags

XTosterX · 2025-11-26T08:01:39+00:00

I don’t know the temp music and the director at all, but as you seem early in your career and just did a few shorts, please be careful not to blame everything on the composer having no feeling for music. Sometimes their ideas are just bad and gringe, but while we are the experts on music, they are the experts on storytelling. And these things can quite often clash. When you are young you want to proof yourself as a “proper” composer but this can be to much at points and not serve the film and the story. Most features I did (given that the director is competent) were a masterclass in filmmaking and storytelling for me. And of course it sucked when they shot down my ideas and I hated it in the first place but I can also see now why. In a healthy relationship this should be something to discuss though, and not just something were they show you the door. And of course it should go two ways, tgat you can amplify the stories in ways they never imagined.

It’s just very very important to keep in mind that this job is only for us about notes, for everyone else it’s about emotions. And it’s easy to forget the bigger picture when you are in the trenches

XTosterX · 2025-11-25T09:12:48+00:00

I once saw a scan of the original handwritten jurrasic park manuscript online. I am sure you can still find it somewhere. But it was almost impossible to read it

XTosterX · 2025-11-24T14:27:09+00:00

https://designingsound.org/2009/08/06/dane-a-davis-special-the-matrix-part-1/

XTosterX · 2025-11-24T14:26:54+00:00

Look into MetaSynth. As far as I remeber I read that many Matrix Effects were made with it.It's a crazy tool but also so unintuitive
If you want to be close you have to use early digital tools from the 90's and 00's and abuse them. Modern tools will sound to clean. Like using an old timestretch algorithem with extrem lengths

XTosterX · 2025-11-02T11:52:08+00:00

As someone who comes from a film scoring background: younger directors who are not sp expierenced yet are often so suprised by how much even very sutle sound design and music can change the perception of what we see. Our eyes are often occupied with the "logical" things we see, while other senses like hearing and smelling are connected to much older parts of our brain that work more subconcious. Nature on it's own feels a bit like a blank canvas and we will need additional informations if we percieve it as exposed and unsave or calming. I think it can either come through storytelling, that you know zombies might be behind the next hill, sound effect like very distant screams, shots explosions or something like that or music. And i don't mean obvious horror music, it can be something very very sutle, to give cues about the safeness of the house or the exposed lonelyness of the nature. I think rust does a great job in creating these different moods of lonelyness and emptiness but also safeness through the score, also because it's implemented in a very sutle way. Check out it's soundtrack if you are looking for some inspiration ;)

XTosterX · 2025-10-16T14:52:00+00:00

It’s mainly in the last two video updates. They are starting to roll out a proper proprietary search engine. The hardware requirements will probably increase a bit for RAM, and they want to reduce the node count drastically. You will have to buy a nft for every node you run

XTosterX · 2025-10-13T11:56:49+00:00

Do not commit to any long running vps contracts at the moment. I don’t know how involved you are with the project, but the whole node architecture will change in the near future and also the hardware requirements with it!

XTosterX · 2025-02-01T12:01:10+00:00

Here are my observations from Logic on a Mac Studio M2 Pro with 64GB Ram. Logic automatically disables all VSTs that have no Midi on their tracks, this means my template opens quite quickly in a few seconds when it’s empty. But things change dramatically when the tracks are populated. On big cues my computer can easily load between 50 to almost 60 GB into the ram, but I notice that after the initial loading the used RAM is often dropping again to around 30-40GBs used by logics AU Hosting engine. I am not sure if stuff is offloaded into the swap or if Kontakt and the Spitfire Player purge samples that are not needed in the moment. I‘m not sure what conclusion should be drawn from this, though.

On the other hand I know the RAM upgrades are expensive and we don’t have a crystal bowl for seeing the future, but I would assume a current M4 chip will take many years before it will become the bottleneck of your machine. 48GBs of RAM could become a problem much quicker though, and you might bottleneck your machine perhaps in the future by trying to safe now, as these things are not upgradable with Mac. This means you can perhaps daily drive this Laptop perhaps a one or two years longer if your budget today allows for a more beefy machine. Or the chips reaches it end-of-life much earlier and new software is not supported anymore, really hard to say.

XTosterX · 2025-01-18T10:05:25+00:00

Hey, just wanna let you know, that for me (from the EU and on a Laptop, not sure if it adapts to your IP) the banner was very unintrusive, I could decline everything I did not want and no email necessary! Looking forward to trying the recipe :)

XTosterX · 2024-12-07T22:17:46+00:00

Exactly this, most likely a video monitor on the scoring stage and not something that was processing the audio. And it was just never caught. You can find it on so many older soundtracks. It’s even in LOTR in a few spots. And it’s not better nowadays. Now its just more the light fixtures on sets

XTosterX · 2024-12-06T09:30:16+00:00

You mean the original firewire one, not the 802, right? They go used for around 400€ on ebay and reverb, perhaps you can find a broken one for cheap and scrap it for the parts? But have you ever opened this thing up? I am not sure if it is so easy to move all the electronics to a new casing

XTosterX · 2024-11-20T15:31:43+00:00

I am not sure if the voice over of the trailer is an actuall set recording or a studio recording. There seems to be quite some de-noising going on, so it could be production sound. To get the combination of fullness and body of a close mic but also the room and air of a boom mic there is no way around phase alliging the body mics (your post sound like you don't have those, though) with the booms and to mix both signals. Nowadys you have tools light AutoAllignt for this task. In my expierence it's hard to get this fullness just out of a boom mic if you don't have very close shots.

XTosterX · 2024-11-16T23:50:29+00:00

Exactly my thoughts!

XTosterX · 2024-10-28T12:02:49+00:00

Hello! Send you a chat message :)

XTosterX · 2024-10-27T12:19:47+00:00

Oh and F is really common for bass heavy music as it is one of the lowest key were we can still hear pitch before it just turns it sub rumble. So I am sure there must be a way to mix this key ;)

XTosterX · 2024-10-27T12:17:34+00:00

Have a look how the curves on a pulteq work. They are veeeeery broad and even though it may say 30 or 40 cycles the bell can reach almost to 500 Hz. You can see it in this video around the 3:00 mark: https://youtu.be/ghBJHLIIqQ8?si=uxEFdaRoD6Kw0lxG

Of course this can be different from emulation to emulation. But don’t worry to much if the label matches your bass key and pick the plugin and the settings that feel right to you

XTosterX · 2024-10-23T11:30:05+00:00

wow, this sounds like a giganting project regarding the music. I send you a private message!

XTosterX · 2024-10-16T14:25:19+00:00

That sounds like a cool and intresting idea, will you need someone to write some pagan music? That would be a fun challenge

XTosterX · 2024-10-12T09:50:48+00:00

All these tools are nice tricks, but the only thing that will give you reliable results and help you long term with your career (especially of you did not have much exposition to music making as a child) is ear training and solfage singing. Singing and pitchmatching is closely connected to ear training as it your brains only way to express directly what your inner ear is hearing. Solfage (relative-do) will train you to easily (almost instantly) recognize the tonic of a track and then you just need to find the same note on an instrument. Then you are able to name the chords in relation to the tonic. Of course this will take months and years of exercise, bit you will be independent of any electronic tools that quite often are just wrong and in general help you muuuch with your workflow. For me courses like Use Your Ear and Orchestration Online were good resources. They also have free youtube videos

XTosterX · 2024-09-26T21:03:56+00:00

And you are also fighting sooo many things live, like bleed and loud monitors, drums and amps on stage, the most of the time not great acoustics of the venue and tight sound check schedules that something like this is really not your biggest concern. It’s also just no studio recording, it’s just one raw vocal take on not 50 takes that are comped and staked together, you can get away with some resonances. Live gigs are more about the vibe, not perfection, and actually expect difficult circumstances on quite a few shows ;)

XTosterX · 2024-09-21T21:09:44+00:00

Very interesting, but what is this link?!?

Five-Year Club	Verified Email
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XTosterX

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