atmosfear

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Viewing 15 posts - 1 through 15 (of 31 total)
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  • in reply to: Square Wave Shootout #70815
    ,atmosfear
    Participant

    Really interesting, thanks for sharing.
    I like the Waldorf PPG Wave. it sounds beefy without too much digital top end.

    in reply to: Collection of free breaks samples #53976
    ,atmosfear
    Participant

    Thank you sir ! \o/

    in reply to: CHOONS you're FEELING #53963
    ,atmosfear
    Participant

    this one has been doing it for me lately

    in reply to: ARKAIK Tutorial… #52112
    ,atmosfear
    Participant

    yes ! althought I’m afraid there isn’t much more to it than trial and error, messing about with samples until something catchy comes out.

    in reply to: ARKAIK Tutorial… #51855
    ,atmosfear
    Participant

    arrangement, how he uses sounds and FXs to fill the gaps and keep things interesting with so few elements.

    in reply to: No more Track walkthroughs #47096
    ,atmosfear
    Participant

    It is a track breakdown, but it feels like a sound design tutorial that is just covering more elements, which is still interesting and not a bad thing at all. But what would have been even more interesting imo is an “arrangement” perspective on the entire track. How did he put the pieces together, how did he structure the different sections, why did he choose the sounds he did if that makes sense ?

    in reply to: BLEJ Serum Patches + Halogenix Q&A #33089
    ,atmosfear
    Participant

    Hello Mr. Halogenix, a late and rather boring question, but I’ve been obsessed with it recently: How did you make that stabby bassline in “Old Town” with Monty ?

    It’s chunky and subby but still has just enough mid harmonics to cut through the mix and let the main synth pluck do it’s thing.

    in reply to: Hydro bass #32893
    ,atmosfear
    Participant

    There’s a Break tutorial in this edition of computer music, where he explains how use distortion with your sub bass to achieve that effect

    http://www.musicradar.com/news/tech/computer-music-live-9-5-the-creative-guide-issue-225-january-2016-631484

    ,atmosfear
    Participant

    lovely samples mate ! I’ll be robing those and have a play with some of them. Did you make these in F note ?

    in reply to: Hydro bass #32871
    ,atmosfear
    Participant

    It might be distorted layer of the actual bass that’s been EQed to only let the tops pass, because it sounds very organic and moves along with the mids/sub. It has that typical top “crunch” you can usually get with distortion.

    It could also be a white noise from the original synth the bass was made from, that would explain why it moves so well with the rest of the bass

    in reply to: Drum dynamics – please help! #31454
    ,atmosfear
    Participant

    DLR covers this aspect in this video. He uses ridiculously short drum samples from Addictive Drums, then gives them the “body” with compression and saturation

    in reply to: Analysis of S5E03: Audeka – Advanced Sound Design #29766
    ,atmosfear
    Participant

    Top review as usual !

    PS: you should play the others Mass Effect, there’s some really cool music in it 😉

    in reply to: Analysis of S5E03: Audeka – Advanced Sound Design #29765
    ,atmosfear
    Participant

    I moved this answer as I hit the wrong reply button. there doesn’t seem to be a way to delete it.

    in reply to: LENZMAN AMA #29588
    ,atmosfear
    Participant

    Hi Teije !

    Your music being a bit stripped back and melodic, making use of space must play an essential part in your production process.

    So my question is:
    how do you use delays and reverb to create space in your mix (and how do you automate it) ?

    Also, do you use reverb/delay on individual tracks, or do you have dedicaded “sends” channels ?

    thanks for doing this 🙂

    in reply to: Tune looking for a home #29076
    ,atmosfear
    Participant

    solid tune !
    try sending it to https://soundcloud.com/impactmusicdnb, I reckon they would be interested in it.

Viewing 15 posts - 1 through 15 (of 31 total)

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