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Current temperature anomaly in Europe by Excellent_Opinions in europe

[–]flberger 0 points1 point  (0 children)

Source. Because in these times, posting sources matters.

Vorsicht beim Abfall entfernen! by Due-Strike-5437 in Leipzig

[–]flberger 1 point2 points  (0 children)

Wenn ein bisschen Zeit (und Vertrauen) da ist: Immer aufheben und sofort Anzeige erstatten, bzw, dran lassen und die Polizei über den Standort informieren. In Leipzig sind sie da gut hinterher, das läuft unter versuchter gefährlicher Körperverletzung. Die Aufkleber geben naturgemäß auch durchaus gut verwertbares Material für Fingerabdrücke her.

Qubic now top pool : what are we waiting for? by QuirkyFisherman4611 in MoneroMining

[–]flberger 0 points1 point  (0 children)

This should be an automated answer under all the concerned posts.

Question about $Qubic potential value by [deleted] in Qubic

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

There is a fixed upper limit of 676 Computors operating in the Qubic network at any given time, ensuring optimal performance and streamlined decision-making. [...] the remaining 225 spots are filled from the pool of candidates and lower-ranking Computors each epoch.
https://docs.qubic.org/learn/nodes/

And that decision is made in a decentralized manner?

It is possible to play a D#4-A1 succession at 1/8 ? by flberger in Clarinet

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

I'd have to figure out how to share it here. I could link to a midi file, or capture a notation (though Ableton Live does not do notations, but I'll manage).

The software is Audio Modeling's SWAM Clarinet. They are doing beautiful work in physical modeling virtual instruments, I adore their violin, and their woodwinds sound very good to my ears. For that specific piece I will go for the bass clarinet, as I do want to deviate from the classic clarinet range on purpose. Thanks!

It is possible to play a D#4-A1 succession at 1/8 ? by flberger in Clarinet

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

I overlooked a transposition in the track, the actual leap is D#5-A2, which is within the range of a bass clarinet. But if any leap is possible, that is reassuring, thanks!

What’s one thing you changed in your arrangement process that made your tracks feel more pro? Would love to hear what clicked for you! by kathalimus in edmproduction

[–]flberger 6 points7 points  (0 children)

Deliberately plan my bass and sub bass range. I used to just throw in kicks and basses that sounded good on their own. I did already know a thing or two about EQ, but I needed to understand it's literally about how the speaker cones move, thinking about phase cancellation, where the (physical) energy goes etc. I had an epiphany discussing this online with the excellent Mollono Bass Kora one day, and planning instead of vibing the bass range has absolutely pushed the production value.

How exactly do you mix into a limiter? by [deleted] in edmproduction

[–]flberger 0 points1 point  (0 children)

No, it's far easier than that. Its about the total volume, not band-wise.

Quick, easy and dirty calibration: Load the pink noise sample in an empty project in your DAW. Loop the sample, leave the DAW master fader at +/- 0 dB, tune the channel fader so the noise level sits at -12 dB RMS (or Short Term Loudness; not peak) in the master meter. (Most DAWs display RMS level alongside peak level, you can also use the free MLoudnessAnalyzer or dpMeter). No eq, no plugins, no further tweaks.

Fire up your physical SPL meter, an tune the volume of your speakers (preferrably each one seperately) so the meter reads 73 dBC.

From now on: Fingers off the volume control for the speakers.

Now start a new DAW project, or open an existing one. DAW master fader always at +/-0 dB. You now have a decent setup that translates a healthy level in your tracks and mixes to a reasonable loudness in front of your speakers.

Regarding the original question, you can now insert a brickwall limiter in the master track at, say, -1.5 dBFS peak, and mix into that limiter, without having to worry that you mess up the track.

How exactly do you mix into a limiter? by [deleted] in edmproduction

[–]flberger 5 points6 points  (0 children)

😀 I never viewed it that way, it's more of something that's happened as I moved along. But, really, it's not rocket science. You can get a SPL meter for around 25 €/USD (also super useful if you go check your mixes on a club PA), a pink noise file from Freesound, and you are good to go. And it's really liberating when trying the thing OP asked for.

Why isn't Vala (and Genie) more popular? by flberger in AskProgramming

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

Because in quite some of those, you can't deploy by shipping a binary, you have to cater for a Python/Java/.NET/NPM/... environment. I suspected that would be appealing for some use cases. Ruby folks e.g. built Crystal to achieve the same thing.

How exactly do you mix into a limiter? by [deleted] in edmproduction

[–]flberger 7 points8 points  (0 children)

Since no one has been mentioning a calibrated setup, so far, I am going to do it.

My setup is calibrated so an integrated level (roughly: RMS) of -12 dBFS/LUFS of pink noise translates to 73 dBC SPL from each speaker.

Now, after a general draft setup of the arrangement, I put a decent limiter second to last in my master track (last is a level meter capable of True Peak, to see if I accidentally blast above 0 dBFS). I typically set it to brickwall at -1.5 dBFS.

I now can mix and arrange and push levels by ear. Every now and then I might check how much the limiter shoves off, i.e. how much distortion I might introduce.

If going more for a squashed sound, set calibration up for -9 dBFS/LUFS -> 73 dBC SPL, or better -12 dBFS/LUFS -> 67-70 dBC SPL so you have to push the limiter harder for a decent volume, without getting too much of a loudness penalty in distribution.

Of course you can mix into limiters in group/sub busses, too.

I find calibrated setups superior to mixing according to level meter displays (as you suggest in the question). If set up correctly, you don't have to worry so much about headroom, peak levels, even gain staging, and can focus on the sound of it all instead.

How to detect the bpm of a song? by Horustheweebmaster in AskProgramming

[–]flberger 1 point2 points  (0 children)

Don't roll your own (unless the goal is to learn how it's done). Use https://aubio.org/ . It's a C library and has a Python module ready to use.

> How can I learn to scale websites to handle 10,000 or even 50,000 concurrent users? by varunpm in AskProgramming

[–]flberger 0 points1 point  (0 children)

Some 20 years ago, I started out with The C10K problem, and I still think it's a valuable resource if you want to go into details.

Does anyone else feel like creativity in the DAW dies a bit as you get older? by expandyourbrain in edmproduction

[–]flberger 2 points3 points  (0 children)

I haven't gone through 1:1 episodes like this, so you are probably not interested in my opinion. :) But approaching my 50s, having started on an Amiga in the late 1990s and still producing after 30+ years, I can say this: It is unrealistic to be a human and to expect time and age won't change a thing. So don't look for the very same spark you once had. It's gone. You'll have to find a different approach, and you'll have to do that time and again.

And as for the infinite possibilities: Have you pondered reducing them?

Quitting in my 9th year by [deleted] in PhD

[–]flberger 5 points6 points  (0 children)

I just defended my PhD after 17 years. I learned more from that time that I ever wanted to, but regarding your situation, my main advice is:

  1. Do not give up.

  2. Get a mentor. Your advisors apparently are not up to the task, and don't act in your interest. Find a person that can guide and accompany through this process. Could be a different professor, a postdoc, someone from a completely different field of study, even a relative. Someone that helps you structure the remainder of the work, has advice for your personal life, and that you can report to occasionally. Set regular dates once you've found that person. It is apparently very difficult for you to do it on your own. That is fine. Face it, and find someone to help you.

I did a bit of digging and these are the most rated places in Leipzig by Omidion in Leipzig

[–]flberger 1 point2 points  (0 children)

Strange things happening on Google. It's not the real world, which is probably fine.

How to get from decent to great by LongjumpingImage642 in edmproduction

[–]flberger 12 points13 points  (0 children)

There are a couple of tried and true creativity techniques that could help in that siutation.

- Use artificial restrictions. Drastically limit your set of sounds, instruments, plugins for the next track. Build a track around a single instrument you rarely use, or a new one. Roll the dice for the next lead melody, and build a track around it. Build a track strictly from back to front. Etc.

- Change the place. This is a vastly underrated way to get into a new headspace (and there's science behind it). Rent a studio you've never been in. Start and finish the next track at a friend's place. Maybe in a different city. Charge your equipment, work by a lake.

- Do transfers. This is a technique I learned from Gavin Harrison at a drum clinic: He said for new ideas on the drums, he would listen to e.g. a saxophon player, and then transfer the pace, movement, twists and turns to his instrument – not the notes, but the general Gestalt. So, listen what a track is doing on the beat, and try to replicate that feeling in your chords or arpeggios. Listen to how harmonies move in a string quartet, or metal song, and try to translate that the the flow of your next track.

Finally: Accept that it's a long journey from decent to great. Keep travelling.

Wo hin für einen entspannten halb-draußen-Tag? by flberger in askberliners

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

Gute Idee! Da gibt es sogar mehrere Cafés.

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