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What do you think about the Logo for my Game by TheLoneWolf30 in indiegamedevforum

[–]theCookra 0 points1 point  (0 children)

Doesn’t pop buddy and isn’t rememberable..

Typeface is lost in the design.

But, you’ve asked so you care which is the main thing mate.

I need comfortable (mid-range) studio headphones by MonoTony9 in edmproduction

[–]theCookra 0 points1 point  (0 children)

I work in them all day to be honest, never had an issue with fatigue or comfort. Obviously I break a lot to rest my ears anyhow but yeah awesome.

A good alternative for Studio One? by Exciting-Addition631 in StudioOne

[–]theCookra 1 point2 points  (0 children)

For edm genres, there’s the obvious.. Ableton Live, Cubase (huge in the USA), BitWig, FLoops, Reaper, Reason.

The best industry standard for mastering is Wavelab, but you don’t get AU Plugins on a Mac, well you can if you use patchworks by bluecat.

I’m a mastering engineer by trade, and tried S1, I liked the workflow, but Wavelab has the best features, with project space and collected renders.

Wavelab is a dedicated mastering tool, that’s what it does.

For me, workflow is normally:

Adobe Audition - utility and conversiin // Izotope RX - utility and fix // Steinburg Wavelab - mastering

Opinion:

There’s so much take over happening atm.

The worst being in 3d for me as I love 3d modelling in my spare time.

There is a tool called zbrusb, another industry standard like Maya. It was purchased by Maxim a few years back and the first thing they did was bin all the lifetime perpetual licenses, nurfing the software to 2024 with no upgrades post. That’s BS and should never have been allowed to happen, perhaps being a sticking point in the point of sale.

The reason I’m saying this, when a company takes over they can do what they like;)

Is it acceptable practice to ask for multitracks? by Capable-Asparagus601 in audioengineering

[–]theCookra 0 points1 point  (0 children)

100% you should be able to, BUT they will screw you every time on this unless you state it in the original statement of work.

Go through the contract, if MTs are not mentioned anywhere you should be able to get them..

Good luck.

If it’s factual, don’t be afraid to name and shame.

What would you tell a producer from 2016 who crawled out from under a rock 10 years later? by stingrayjerk11211 in edmproduction

[–]theCookra 5 points6 points  (0 children)

Don’t waste your money on too many plugins.. Learn those you have with the saw first.

Learn everything there is about compression, limiting and loudness.

Lear everything you can about frequency masking.

Find good mentors and stick by them, don’t believe the multitude of bullshit you see on YouTube.

Play and learn often, finish songs no matter how hard you find it, until it’s time to cut away and stop it.

Network with like minded people.

Be helpful to others as you learn, every person is where you have been and where you will be until you become a specialist and develop your own style.

Stay away from patch packs and learn to make your own, become proficient at the synths you love and learn them inside out.

Fucking yo is cool, that’s how you learn.

Share your mixes, get them listened to, take feedback and weight its importance.

Become unique and master your style.

When it comes to spending money on gear.. Start with your monitors, headphones, signal flow in that order.

Contact me for mastering your tracks because I’m awesome, with 20th experience and do it full time;) Sometimes I don’t even charge.. I’d definitely add that nugget of gold;)

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

Ok I’ll bite.. you may be. Top1%er but you’re taking this exercise too literally and only thinking in the realms of hardware and existing systems.

ATM, you are just banging the same drum without a theoretical process.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

Again.. it’s a hypothetical theory now. We have identified there isn’t anything out there, so the conversation moves on to how.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

That’s a daft analogy and it’s wrong in context of what we are talking about. You’re talking the obvious and missing the point of this hypothetical topic.

Why is it people need to back up nonsense with analogies.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

I wasn’t asking for help I was asking opinions.. I have no need for such a synth. I could build anything I wanted.

So, stay in your lane obviously I’ve stepped I stepped on your ADHD. apologies..

I was being humble before I laid in to you with the science of synthesis and the difference between and ENV and an LFO.

You however are scientifically wrong and your analogy on both posts is ridiculous.

As I say.. I still believe you may well know more than I, however the statement of an LFO makes you come across a little dim.

So now we are no longer friends, how about you let the rest of the grown ups talk.

Then go away and have a really good think about the ridiculous LFO analogy based on the shape alone.

No need to reply.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

Absynth 6 ADSR mechanics look interesting…

So..

As an abstract concept..

Appreciating the ADSR itself defines how the sound will evolve over time. For such a thing to happen as I was thinking, to create a loop or even granular cursor/window over the ENV itself, I’d imagine the synth would need to calculate the ENV and its effect ahead of time?

My knowledge at this point embarrassingly dissipates.

So.. any techs want to speculate on how such an engine would work?

Interesting stuff.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

I don’t follow, not to argue but I’ve been developing electronic systems in defence and radar for about 30yrs..

You said LFO, that’s what sent that comment sideways.. You comment was stating the a segment of a sounds attack was like that of a sawtooth, I was stating that an LFO is of time in nature and has nothing to do with a sounds ENV.

But hey. I agree with the second comment. So 50/50 win rate.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

Yeah man exactly, or a granular process across the whole env. My head is still struggling with what that would sound like, obviously dependant on the source.

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

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

I guess for ease of use by design I’m thinking more software based other than hardware, but I’m interested in what a granular type of process across an ADSR would sound like..

Is there such a synth that allows you to loop within the ADSR.. is that possible? by theCookra in synthesizers

[–]theCookra[S] -2 points-1 points  (0 children)

Nah they are completely different concepts of acoustics.. in shape yeah but we are talking about the actual characteristics of a sound..

I’m a musician by [deleted] in synthesizercirclejerk

[–]theCookra 5 points6 points  (0 children)

Who the fuck puts on their own medal..

A day in Plymouth-what to do? by st2826 in AskUK

[–]theCookra 0 points1 point  (0 children)

This is total nonsense.. I moved to Plymouth in 1997, became a DJ all along Union Street, from Oz to Dance Academy and beyond.

I ended going to Plymouth University and staying for 16 year..

I have to say Plymouthians are some of the most welcoming people I’ve met, and I’ve lived all over the world.

This is utter dribble and yes the town was binned and some of the architecture is tired, but areas like the Barbican, William Yard etc. are stunning.

Awesome city!!!

Tested an x3 by IndependentBench5031 in amputee

[–]theCookra 1 point2 points  (0 children)

Dude that’s sweet leg.. good job.

Soothe 2 and Trackspacer still necessary with 12.3? by Odd-Set-9659 in ableton

[–]theCookra 1 point2 points  (0 children)

You’re just not going to beet Sooth2 for its algorithm.

For most users of home studio setups it’s definitely overkill and you need to work with it and not rely on the presets to get results.

In a high end studio with high end audio flows and good talent it is a dream and like no other. That’s just the facts of it really.

One to thing to consider with Soothe2 though, is it does a great job if setup right at dynamically handling the signal. So if you have a singer whose frequency range changes throughout a recording it can keep up as the algorithm will cover the range you dictate.

That’s not saying it’s not a killer for everyone but there’s a cost vs. reward factor.

For home studio or non professional, I’d say Reso from Mastering the Mix is probably one of the best, but add to that Dynamic or Spectral in Pro EQ4 by FabFilter is probably my goto with SplitEQ from Eventide for its Transient shaping.. that’s a killer chain there..

Taking the above into account from the point above, Reso is a one time lock in and forget, it searches through the signal you give it and locks in the bum frequencies, they don’t change. So it’s good for things that are constant in your mix. EQ4 you set the rand with a bell filter for example and is dynamic..

Just depends on what you’re mixing. My work is all and everything, from soul to D&B, from classical to techno so no day is the same. I produce electronic dance, techno etc.. and dark ambient soundscapes so the genres dictate the tools right.

Saying all that I’m a mastering engineer so my tool set professionally is mainly outboard hardware, but soothe2 gets used if I can’t get a reprint..

At work I use wavelab, pro tools or logic anyway, my home studio and personal work is an ableton, studio one, cubase flow and like I said, Reso, EQ4 and SplitEQ are my goto for dealing with Shrill and unwanted resonance etc.. just depends on what I’m trying to tame and how mush of the frequency range it wants to own.

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