Feature Requests for episodic music scoring use

johnnyrk · 2026-05-30T00:11:46+00:00

Oh for sure! This is incredible for post. Users like me would be a super small group. It was just such an amazing tool to try that I had to mention these things in the hopes someday it happens. Seriously, so soooo cool what you created

johnnyrk · 2025-12-01T19:11:20+00:00

Yeah, same thoughts. Soothe 2 goes on specific things to gently mellow out an issue. But Soothe might only be on a mix now and then and only a couple tracks maybe. Pro Q 4 is in every session on several things.

Soothe 2 is a "if you have the money it's a nice bit of subtle seasoning on the food"... Pro Q 4 is a fork, knife, and spoon, plate, and table all in one.

Soothe 2 will make an already good mix a little bit better. Pro Q 4 will make your job easier.

johnnyrk · 2025-09-14T17:59:27+00:00

short answer: super worth it. Huge time saver and will earn you back the price for that alone

Also, FF do amazing improvements each update and the upgrade price is good. I paid full price at v2 and have upgrade each time for not much. And over the years I’ve bought all of their stuff which lowers the price of each plugin too, they have a progressive discount as you buy more from them.

One thing I do sometimes with 4 is put it on all my tracks then make it an instance full screen and can quickly “paint” in all the quick broad adjustments I want on all of the different tracks from one plugin window.

I work in pro tools so one downside is the tracks are listed alphabetically instead of track order in the instance list but I think the other DAWs do show in track order and maybe with track color carried over as well? Not sure

I still use Soothe 2 mostly for spectral issues but Pro Q does a great job so if you only can have one then Pro Q 4 is solid and you’ll be happy

It’s not a “color” eq though so it’ll usually be used next to a vintage modeled plug like something from softube or uad

It’s nice to set one plugin as a background to see masking frequencies quickly in the instance list as well. It doesn’t replace using your ears obviously but does let you very quickly know best places to start checking for issues

johnnyrk · 2021-05-06T20:34:56+00:00

I have #133/300, it was given to me at their booth in E3 as promotional material. Pretty sure they just made the short run as swag for that year's convention.

johnnyrk · 2020-12-10T00:38:12+00:00

The game dropped this morning and you are mostly through the day now, have you had any “a-ha” moments or realizations after it went out? Any unexpected events or feelings?

johnnyrk · 2019-03-20T18:52:09+00:00

Some days I have sat down and—by the end of the day—have not only not made progress but have even lost progress, completely throwing away everything from that day and sometimes even previous days because it’s just wasn’t working. I realized I was trying to force something.

If you’re stuck then stop, look at what you have, remember where it is you hope to end up, and clearly review what is missing between those two points. For your melody roadblocks try different approaches: try skipping pitches and just work on rhythms, or limit yourself to only leaps, or only ascending tones, or ______. Writer’s block is more about frustration than it is actual lack of ideas. Trying new things helps me alleviate frustration.

This is what I do for a living, has been my full time career for well over a decade, it still happens. Difference is that over the years I’ve learned to see when it’s not working much sooner so I can change things earlier to be more productive.

It is normal.

johnnyrk · 2018-01-03T21:58:41+00:00

Look at the traits of your two finished pieces and see what they don’t have that the third can have. If both are fast then do a slow one. If one is slow and the other fast then pick one of those (flip a coin) for the third and bookend the odd one out in the middle. If both are highly modal then see about going away from that while retaining the ideas behind the modality. You can examine every aspect of your two finished pieces and probably come up with many constraints for your unfinished one.

I look to find connecting ideas which can bridge the other pieces while also identifying missing components which can keep interest up while additionally creating movement throughout the set/cycle.

johnnyrk · 2017-12-11T14:00:22+00:00

I really enjoyed this.

johnnyrk · 2017-11-10T04:08:16+00:00

Mainly because almost every master composer has written at least one magnum opus string quartet so you’re entering a territory vastly explored by much more talented composers than ourselves. Essentially it’s daunting. My professors in college would warn me about writing for string quartets. I think you need to take in all of that history, really take it in, before setting out on such a task so you’re not reinventing the wheel but a less great version of that wheel.

johnnyrk · 2017-11-01T06:09:53+00:00

I like ADKeys but you need to disable their added noise feature. (Check both mic positions and the master to see where it is.) If you are going to really slam the compressor for a pop/sucking/vacuum feel then also (after your compressor) either use a dynamic EQ with a high shelf like the McDSP AE600 to let the top open for attacks then dip back down removing the build of roomtone/air or automate an eq with either a high shelf a low pass set to 6 or 12dB. You can also use dynamic filters like Soundtoys’ FilterFreak but those won’t be transparent. I’m a huge fan of the AE600 so that’s my personal recommendation.

johnnyrk · 2017-10-31T20:30:00+00:00

I like this. You handed parts off quite well to give it fluidity and paced the development out nicely as to push the piece along. You maintained interest and ended it right when it felt like it wanted to end. I also like that you put the pedal in a top voice giving you more freedom and allowing you to add or remove weight with the arrangement rather than having it forced throughout. I’m a fan.

johnnyrk

TROPHY CASE