shrike

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2018-11-02 at 20:59:55 in reply to: Signal's Videos unavailble? #56932

,shrike
Participant

My pleasure, and welcome to SG!

_-| get to work |-_

2018-11-02 at 19:38:29 in reply to: Signal's Videos unavailble? #56915

,shrike
Participant

The way that SG works is that you have access, into perpetuity, the videos that were released while you are a paying member. So if, for example, you were a member for the last three months, you would have, in “Your Videos”, all three months worth of content, streaming (not dl). But you don’t get the entire library all at once.

If there is something that you missed because you weren’t a paying member at the time, you can buy those vids (for a very low price) and then they become videos that you can download into perpetuity.

It’s a fair model that gives you access to what you pay for, while you’re paying for it.

You also get very high quality samples from relevant artists, shit that you can’t find anywhere else.

For the price, if you love dnb, it’s a mufkin STEAL.

_-| get to work |-_

2018-10-30 at 15:41:29 in reply to: Lamp Sessions (Monthly Challenge #005) – submissions due October 29 #55751

,shrike
Participant

On the topic of slightly late submissions, yeah I say get them in as soon as you have them. Better to have the music than to stick to dates!

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2018-10-30 at 15:40:16 in reply to: Lamp Sessions (Monthly Challenge #005) – submissions due October 29 #55748

,shrike
Participant

I did this a week ago. I wanted to go back and touch the shitty slap mix, but it just didn’t happen.

I am GRATEFUL for this competition, though. I have never used bit crushing or otherwise fx on a regular basis. I now see how some of this stuff can be used into perpetuity. I didn’t “jungle”, I chose this opportunity to go halftime (another first for me), and I just threw every kind of bitcrush, lofi, retro effect I had at it. I really like some of the textures. The piece as a whole is pretty unformed.

https://soundcloud.com/the_shrike/lampsessions005-bitdeath-wip01/s-chCtQ

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2018-10-29 at 16:04:04 in reply to: Sketches, WIPs, etc #55441

,shrike
Participant

Balron wrote:

– I don’t like the long release of sidechain at the background atmo pad. It has this slow pumping effect. I don’t like pumping in these atmospheric tunes. If you are sidechaining it there to make a space for drums make the release shorter.

I’m gonna disagree with this point. I actually almost called out that pumping pad as something that I really liked. It’s kind of a call out to prog house & whatnot. I think it’s a stylistic, subjective thing more than it is anything technical. I get it. Not Balron’s cup of tea. That choice is more on the artist, imo.

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2018-10-29 at 04:19:59 in reply to: Sketches, WIPs, etc #55418

,shrike
Participant

very lovely

the bottom has a little flab that I think you might want to look into…it’s either ultra low freqs, or there are freqs that are competing to be the lowest fundamental, and I kinda think it’s maybe a bit of both

I’ve been mixing for awhile, so my ears are a little haggard, but: I think your pretty atmos and top layers need a little more sheen & air. Some surgical lifts in the high frequencies may do you some good, and maybe even some multi-band comp, trying to pull out the top of the middle and bottom/middle of the highs.

Nice work!

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2018-10-28 at 18:43:45 in reply to: Sketches, WIPs, etc #55403

,shrike
Participant

WIKKED

Not in a cheesy horror film. This could have fit right in for something like “Attack the Block”.

I think this is my favorite that you’ve done, Erkki. Nice! Finish it!

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2018-10-26 at 10:12:41 in reply to: Sketches, WIPs, etc #55259

,shrike
Participant

It needs more fattening and polishing, but I’m feeling okay about this one.

Any and all feedback appreciated. Thanks brufvs

https://soundcloud.com/the_shrike/markofthebeast_wip01/s-DwSEq

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2018-10-25 at 19:20:47 in reply to: Sketches, WIPs, etc #55250

,shrike
Participant

Good question. I have a few goto methods, all revolving around the same kind of approach:

Split the freqs so that you get a clean hi layer that you can affect without disturbing bass freqs.

-Add chorus, or use a delay to get a faux Haas: pingpong, ~22ms delay, dial in feedback/wet

-Take the high sounds and pan L a bit (~20-30%) , then take a dupe of that, go to the right, and throw enough effects on it to make it distinct from L, but different enough so that you don’t have to worry about phase cancellation. Sometimes I will do this x’s 3, meaning I leave the unaffected version straight down the middle, and then provide different effects to each the L & R pans.

-autopan is a very effective weapon, even just a subtle slide left and right can make a big difference.

Yeah that trick to go mono-ish before the drop is a good one. I’ve done that before, need to incorporate it more.

/c

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2018-10-25 at 07:30:42 in reply to: What got you into DnB? #55233

,shrike
Participant

ALL THE FUCKING MONEY

jk

This is a chronological list, and how I can trace it all back:

Prodigy/Hardcore in HS (mid nineties)
Happy Hardcore (don’t judge me…we listened to what we had)
Jungle
Goldie/Timeless
Metalheadz
Bad Co + Ed Rush & Op
$X,XXX in gear and records
Played a monthly + with a HK DnB crew for almost 2 years
Played out internationally (made some decent record-buying-cash, too)
Parties were FUCKING AMAZEBALLS
$XX,XXX in hardware (emu, virusb, yammie cs, etc)
Back to College = sell much of it
$XX,XXX 10 yrs after that in hardware software
DJs played my stuff, parties were pretty fun
Married + grad school = put it all down again
Brother shoots self in head (RIP)
Realize what matters most
Pick it up again…last chance to go all the way
Music saves my life
No more parties, just the music
~2yrs of 25+ hours a week. Including 4 hours today…

And I have never wavered from the guts and soul of the music I love so much.
It just took a shitty year for me to realize how important it was to me.

That’s why I have the passion I do, and it’s why I love and support all of these talented young artists who are going after their dreams before realizing it’s too late. It’s why I am as active as I am on here. I want to help, and this site & training is LEGIT.

Hopefully the next entry will be “achieves 1st commercial release.”
FTW

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2018-10-24 at 19:14:58 in reply to: Voxengo SPAN #55219

,shrike
Participant

Joe is definitely great at explaining his Span setup, and his mixdown workshop SG class is well worth the 5 clams or so, if you don’t already have it.

I have studied this subject a lot over the last few years, and have arrived at some settings that work best for me after lots of tweaking.

It’s a variation on what Harry described. I start with the “dual mono” preset (check the dropdown arrow next to “Routing” at the top), and then the “Left” (yes, in mono…it’s a strange convention) is my active graph, shown in green, responding in real time…then the “Right” is underneath, shown in pink, and that is a (much!) slower moving graph that basically just kind of pegs the last second or so at max. I prefer 8192 points of data, no smoothing, and I keep my ceiling high. I don’t like my graph filled, I’m sure I am just weird in that sense…

I haven’t found a better spectrum analyzer than Span, and I’ve tried nearly all of them. I’ve even considered a hardware unit, the TC Electronic one, for using with external gear, but we have one at work and it’s just not all that great. I use Span Plus, but I don’t know that there is much value over reg free Span. Master the spectrum and your mixes will greatly improve.

The only downside to Span (and all Voxengo) is that horrid interface, but at least you can change the colors…ffs please change the colors.

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2018-10-23 at 23:01:37 in reply to: Sketches, WIPs, etc #55189

,shrike
Participant

Whaddup LiEnN, glad to have you participate.

Rubber Duck: I dunno man, I think the drums sound nice. And I would tend to agree with you, I think the music is the most important thing. I know there is a crew that only looks for the mintiest freshest mixing, but I think that is only a part of the foundation that makes a good tune, given that it meets a certain minimum standard of course.

There are some very well known DnB artists who are just SHIT at mixing, but have had wicked tunes over the years, and they’ve stayed successful and relevant. I think a mix needs to be coherent, but is only a part of the larger whole.

The drop hits nicely, especially the interplay between bass and drums. Really dig that snare. Solid.

My feedback would be similar to what I just gave gwells, and that it could use another layer of variation. Filter the drums, slap a hero sound in that only shows up once (turnarounds are perfect for this), etc. Nice tune!

Trainwreck: Aggro and straightforward, you’ve got all the pieces in there, I think it’s just time to spit polish a few of them. If it were handed to me, this is the time that I would play with widening out the 1khz+ freqs, especially on that main bass/mid bass sound. It’s a nice sound, now open her up, freq layer it, and create some width and depth. You’ve also got a nice cyber sound on one (or a few) of those turnaround sounds. If it were me, I would widen it out fairly fat, and then automate from fat to thin or thin to fat. This is a subtle little trick that puts the listener in the middle of the sounds, and creates the illusion of the sound moving through and around them.

I get it that mono/clubs is where it’s at for some folks, but if you can create some sparkle for the home listener while keeping the meat in mono, fully weighty, I think you’ll be doing some good.

Keep going!

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2018-10-23 at 21:58:45 in reply to: Sketches, WIPs, etc #55188

,shrike
Participant

Yup, totally agree. That Airlock tune just has a slap mix strapped across, no love to make the drums poke. Kind of a bad habit, TBH…I need to push the initial WIP mixes a little further. Thanks for the feedback, mate. Can’t decide if it’s a wholly dumb tune, or if there really is something there.

On to yours:

Drums are doing their thing fairly well, loud & such. Concept works well. I can dig the environmental atmos sounds (bird chirping), but I would personally back them off during the initial bars of the two drops. This gives the drops focus, and gives the listener a break from hearing them, which makes them more sonically appealing when they do reappear.

I’d say something similar about that chord/pad/thing, except that I might filter it up and down, in and out, just to give it a little more movement in and out.

I think variation, overall, is the my point here. HP the bass sound on turnarounds, stutter the drums in places, etc.

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2018-10-21 at 22:03:35 in reply to: CHOONS you're FEELING #55093

,shrike
Participant

I swear to fuck that this dude was brought here from the future to bring us his music. Far in the future. CVFTW

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2018-10-21 at 19:20:54 in reply to: Mixdown feedback #55087

,shrike
Participant

Well well, look who it is! Good to see you around, mate.

(I’ll review soon)

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shrike

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