I found this an interesting thread, although admittedly, I didn't read every word, still, I feel very musically inclined.
I was in "the guitar store", and played a display in the showroom, I configiured the settings for this Korg
Much to my suprise, it seemed I had a full on session that would have sounded similar to a dance type sound. I thought I was on something to make such music, and it was as good as music I listen to, I'm still amazed at the quality, minus the vocal, and whatnot, it held it's own.
Nicola, I just thought of when we talked last, the software was capable of doing that, but I didn't realize it untill I was hands on.
Music Apps
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NicolA.exe
Well "hands on" is only with hardware possible. But even when u are gonna use a VSTI (virtual synth/software) it can be controlled thru a midi-controller of ur choice. I don't mean the usual midi-keyboards & u play in the parts while the VSTI reacts to ur performance. I mean u can have "hands on" while u controll all knobs u can see on it's interface (gui).
When i entered a music store filled with alot's of synthesizers for the very first time (1996 - Stelzhammer.at) it felt as like i was fucked by a wonderful woman (during that time i was dreaming about Teri Hetcher
). The music store of course is situated in Vienna not far away even from my actual appartment. However...the first synthesizer i tried was the Roland Jp8000. A nice analog pleasure but no Vocoder synth such u have tried Jademz. I also tried Korgs...such the Korg Trinity, it's a typ of rompler which means it contains a hardisc & synth works with samples. Unlike samplers it has probably more hd-space & of course more effects to tweak on the sounds. Rompler also offer a combination of waveforms & samples...so they can be merged to as one sound & then modified for further progresses. If i may be honest...i loved the padsounds very much from Trinity as u can pick up alot of layers & get this multi-layer blast if u know what i mean but i always kept sitting much longer infront the Jp8000. Simple reason....it's more fun to fiddle arround when all knobs & therefore possiblities are on the same table.
That's what i like on these analog gear but the digital synths all are lesser user-friendly. Every action happens on the display & since the new touchscreen technology to be standard it just turned to worse. And that's what have feelt with Korg Trinity. Both synths are completey different synthesis but if i would have had the money back then i would have prefered to buy Jp8000. His display might be a joke...very little but u don't need a bigger display so neccasary for analog synths as for the orientations sake (presets load/save/delete or on/off). When u look closely all knobs & faders have their lines arround them on the side.
That's why i understand when Jademz says he had a better going, flow of creativity by touching directly the device but as i said...a workarround for the sector VSTI & DAW (sequencers) is available. I for example use M-Audio Oxygen 8 as my main-midi controller which is plucked thru USB. As secondary keyboard i use my old Yamaha Psr620 being able to have 5 octaves at once without to have switch between the octaves such as i need to do on Oxygen 8 for only having 2 octaves at once (25 keys). But for electro/synth parts it's the right partner as for the several knobs & mod-wheel to use as my controlls to have this hands on feel with virtual synths aswell. [/url]
When i entered a music store filled with alot's of synthesizers for the very first time (1996 - Stelzhammer.at) it felt as like i was fucked by a wonderful woman (during that time i was dreaming about Teri Hetcher
). The music store of course is situated in Vienna not far away even from my actual appartment. However...the first synthesizer i tried was the Roland Jp8000. A nice analog pleasure but no Vocoder synth such u have tried Jademz. I also tried Korgs...such the Korg Trinity, it's a typ of rompler which means it contains a hardisc & synth works with samples. Unlike samplers it has probably more hd-space & of course more effects to tweak on the sounds. Rompler also offer a combination of waveforms & samples...so they can be merged to as one sound & then modified for further progresses. If i may be honest...i loved the padsounds very much from Trinity as u can pick up alot of layers & get this multi-layer blast if u know what i mean but i always kept sitting much longer infront the Jp8000. Simple reason....it's more fun to fiddle arround when all knobs & therefore possiblities are on the same table. That's what i like on these analog gear but the digital synths all are lesser user-friendly. Every action happens on the display & since the new touchscreen technology to be standard it just turned to worse. And that's what have feelt with Korg Trinity. Both synths are completey different synthesis but if i would have had the money back then i would have prefered to buy Jp8000. His display might be a joke...very little but u don't need a bigger display so neccasary for analog synths as for the orientations sake (presets load/save/delete or on/off). When u look closely all knobs & faders have their lines arround them on the side.
That's why i understand when Jademz says he had a better going, flow of creativity by touching directly the device but as i said...a workarround for the sector VSTI & DAW (sequencers) is available. I for example use M-Audio Oxygen 8 as my main-midi controller which is plucked thru USB. As secondary keyboard i use my old Yamaha Psr620 being able to have 5 octaves at once without to have switch between the octaves such as i need to do on Oxygen 8 for only having 2 octaves at once (25 keys). But for electro/synth parts it's the right partner as for the several knobs & mod-wheel to use as my controlls to have this hands on feel with virtual synths aswell. [/url]
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Avi
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We've talked a lot about sequencers, synths, and VST plug-ins, but we hardly touched on the other side of the coin...mixing and mastering.
I have just started to really pay attention to how different elements are mixed and how much space they need in order to be effective in a song. I used to just cram stuff into a song and sacrifice clarity for volume. Lately, I've been checking out electronic artists that I wouldn't normally listen to (Goldfrapp, Royksopp, and a few others) just to hear how well their albums are produced. I'm picking apart how things are arranged and placed on the sonic landscape to paint a clearer picture. It's hard to pick up these things from my favorite artists since Squarepusher and Aphex Twin's best stuff is akin to having your teeth drilled on. This research has led me to look for VST's that had more to do with polishing the finished product than creating it.
I've learned that a little warm compression can go a long way. I used to think I had a pretty full sound until I loaded up a multi-band compressor into one of my tracks. Wow, it filled out the speakers and had the bass pumping without getting too crazy. When I turned it back off, my original sound was tiny and very "amateur". I thought "So THAT'S how they do it!" Now, everything gets run through a nice analog type of compression.
I also started to really utilize the Limiter that comes with Wavelab. It rounds off those signals that stick out like sore thumbs from your mix. Another problem that I had was certain elements that weren't meant to sound very big actually sounded too small. I found that using a maximizer or exciter can make those timid parts stand up and make themselves heard without taking over the track.
There's so much to learn, though...but the more you learn, the more confidence you'll have in your tracks.
I have just started to really pay attention to how different elements are mixed and how much space they need in order to be effective in a song. I used to just cram stuff into a song and sacrifice clarity for volume. Lately, I've been checking out electronic artists that I wouldn't normally listen to (Goldfrapp, Royksopp, and a few others) just to hear how well their albums are produced. I'm picking apart how things are arranged and placed on the sonic landscape to paint a clearer picture. It's hard to pick up these things from my favorite artists since Squarepusher and Aphex Twin's best stuff is akin to having your teeth drilled on. This research has led me to look for VST's that had more to do with polishing the finished product than creating it.
I've learned that a little warm compression can go a long way. I used to think I had a pretty full sound until I loaded up a multi-band compressor into one of my tracks. Wow, it filled out the speakers and had the bass pumping without getting too crazy. When I turned it back off, my original sound was tiny and very "amateur". I thought "So THAT'S how they do it!" Now, everything gets run through a nice analog type of compression.
I also started to really utilize the Limiter that comes with Wavelab. It rounds off those signals that stick out like sore thumbs from your mix. Another problem that I had was certain elements that weren't meant to sound very big actually sounded too small. I found that using a maximizer or exciter can make those timid parts stand up and make themselves heard without taking over the track.
There's so much to learn, though...but the more you learn, the more confidence you'll have in your tracks.
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Daddyo
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I've played a little bit with FL's multiband compressor, but really just flipping through the presets until the music sounds rounded out like something on a radio tune. I've also been banding individual instruments so they stay out of each others way, and I think if there's multiple instruments in the same frequency range don't play them at the same time.
When I've lowpassed/midranged/hi-passed a sound, I've hated doing it when it's playing solo because it removes some really nice qualities of the instrument, but in the end its better when everythings playing. And I suppose if it were to solo, you could automate the banding out temporarily.
The multiband compressor makes all the sounds level in amplitude, which sometimes makes the tune lose its subtle ranges like on really low volume parts. I'd guess its not good to do if you were making an orchestral deal?
I'll have to mess with limiters.
When I've lowpassed/midranged/hi-passed a sound, I've hated doing it when it's playing solo because it removes some really nice qualities of the instrument, but in the end its better when everythings playing. And I suppose if it were to solo, you could automate the banding out temporarily.
The multiband compressor makes all the sounds level in amplitude, which sometimes makes the tune lose its subtle ranges like on really low volume parts. I'd guess its not good to do if you were making an orchestral deal?
I'll have to mess with limiters.
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NicolA.exe
Truely mastering is a complex topic & a subject which u never will be able to master completely as the technology, it's formats, development of sound carrier, the studio & home-entertainment devices never stops. For a producer these days studying the most important know-hows, which are often used in a studio-enivroment (reguardless if virtual or hardware studio) is a must. If u keep the focus on a specific musicstyle then it by time will feel as an easier job. The next trouble to mention is that each song contains different instruments & so therefore aswell different frequencies which make an unique sound-problem to solve. So even if we have some rules of the thumb for this & that it doesn't help when u don't have these magic or at least expierenced ears. It's a matter of years until u get into it.
Often many artists make the same misstake as they pretend that mastering by alone is the golden key for having an ultimative soundfeel. Mastering basically should be taken place as the last step to polish a track. Because with wrong mixing, which therefore should be taken as the first step after a track got finished, u hurt more as u probably would guess. Therefore care first for the mixing which means...placements of each instrument by pan, stereo-separaton/stereo-imager (if a certain frequency should be more behind or widen), then it can't be avoided to shape the tone color of each instrument not only in solo as also "all-at-once". That means to take a closer listen if some of the sounds do causing unwanted effects thanks to collistion/voice-over. That is the very moment in the mixing progress when u need to make compromises. This also clears the reason why after shaping all instruments that u could be dissapointed when u enable just each of the channels to solo & then each sound seem to have lost it's mighty presence that has been before (such bass, punch, room etc...).
People often tend to just think about boosting everything beginning with equalization & ending with compression etc... However each music-genre has it's own basic rulez how it should be treaten with mixing, shaping & mastering. It's too very clear that u need to care for transparency. The same is when u look from a car to the windows on the side, u will figure even a landscape has stronger or lesser flashy colors. Everything such buildings or trees that lay in a longer distance are not sharp, soft while everything in the foreground appears to be more stronger & clear. This effects are important for us without them we couldn't tell the distance. This avoids to be confused as we need oriantion for what we see. The same goes for the sound. U can't have everything on the same position nor u can't have everything to rule. There u need compromise too. The correct defintion of a song's sound makes not only a good mixing as also the individual priorities that give the track individual character & live. Second big misstake nr.2: the ear get's cheated when u listen ur song very loud. U will then fail to tell which of the instruments are louder, too loud or too quiet. Tipp
If u think u are almost done with mixing reduce the volume of ur amplifier or hifi-system to the lowest as possible. Listen thru & u will start to wonder how many misstakes can be found. Second alternative would be to reduce the volume to such a middle value, so called "low volume". Then leave ur door open & go to an another room or sit far away if the room is very big.
Mastering itself is the progress when u take care of the master-channel's sound as second step after successfull mixing. That could be maximzing/amplyfing certain frequencies, stereo imaging, shaping eq if neccesary for the overall-sound. It's hard to describe as with even this length of roman u can't cover everything which also should have be mentioned. The best is u expierment & learn & find ur gear (vst-plugins or hardware) that are very useful for ur shaping ur sound to have as best quality as possible at the moment. Alot of praxis gives u the feel. The theory shouldn't be underestimated. It can be helpfully too. For mastering the following plugins are my favs & i pretend they are easy to use too:
And btw. Wave-editor such Soundforge/Wavelab, Cooledit & co... there are plenty important features to find in their pulldown-menu for rostoration & masterings sake. I'm sorry to have posted a long roman again but it's impossible to measure ur level of knowledge about this subject from distance. Plus i think it might be useful to put in some starting-points for those who have no clue atm. but want to start to diggin deeper. As told i couldn't covering everything. Therefore i want to give the hint there are alot's of mixing/mastering tutorials to grab on I-net. There are also frequencies tables to get for those who don't have these golden ears & worry they could messup their songs with bad equalization treatment. The EQ-table do show off the most important instruments & their recommend frequency range. So called Parametric Eqalizer offer a nice ability for a better overview & u can see the frequencies value too to get some oriantation.
I hope i could encourage a few beginners who secretly reading or at least have given some inspiration for the more experienced because with having so much possiblities to choose for, u never know before which plugin or further may say, ... way of mastering can suit the best. It's all a learning by doing & alot of trying. Individuality pure. Warning! ->Headaches & damages to the ears can be expected.
Often many artists make the same misstake as they pretend that mastering by alone is the golden key for having an ultimative soundfeel. Mastering basically should be taken place as the last step to polish a track. Because with wrong mixing, which therefore should be taken as the first step after a track got finished, u hurt more as u probably would guess. Therefore care first for the mixing which means...placements of each instrument by pan, stereo-separaton/stereo-imager (if a certain frequency should be more behind or widen), then it can't be avoided to shape the tone color of each instrument not only in solo as also "all-at-once". That means to take a closer listen if some of the sounds do causing unwanted effects thanks to collistion/voice-over. That is the very moment in the mixing progress when u need to make compromises. This also clears the reason why after shaping all instruments that u could be dissapointed when u enable just each of the channels to solo & then each sound seem to have lost it's mighty presence that has been before (such bass, punch, room etc...).
People often tend to just think about boosting everything beginning with equalization & ending with compression etc... However each music-genre has it's own basic rulez how it should be treaten with mixing, shaping & mastering. It's too very clear that u need to care for transparency. The same is when u look from a car to the windows on the side, u will figure even a landscape has stronger or lesser flashy colors. Everything such buildings or trees that lay in a longer distance are not sharp, soft while everything in the foreground appears to be more stronger & clear. This effects are important for us without them we couldn't tell the distance. This avoids to be confused as we need oriantion for what we see. The same goes for the sound. U can't have everything on the same position nor u can't have everything to rule. There u need compromise too. The correct defintion of a song's sound makes not only a good mixing as also the individual priorities that give the track individual character & live. Second big misstake nr.2: the ear get's cheated when u listen ur song very loud. U will then fail to tell which of the instruments are louder, too loud or too quiet. Tipp
If u think u are almost done with mixing reduce the volume of ur amplifier or hifi-system to the lowest as possible. Listen thru & u will start to wonder how many misstakes can be found. Second alternative would be to reduce the volume to such a middle value, so called "low volume". Then leave ur door open & go to an another room or sit far away if the room is very big.Mastering itself is the progress when u take care of the master-channel's sound as second step after successfull mixing. That could be maximzing/amplyfing certain frequencies, stereo imaging, shaping eq if neccesary for the overall-sound. It's hard to describe as with even this length of roman u can't cover everything which also should have be mentioned. The best is u expierment & learn & find ur gear (vst-plugins or hardware) that are very useful for ur shaping ur sound to have as best quality as possible at the moment. Alot of praxis gives u the feel. The theory shouldn't be underestimated. It can be helpfully too. For mastering the following plugins are my favs & i pretend they are easy to use too:
- .] BBE Sonicmaximizer (to boost certain deeper sonics or to bring clarity)
.] T-racks 24bit (standalone/plugin-version) very good allround-solution. Can also be used for widen the stereosound abit.
.] Izotope Ozon 3 for analoge & digital mastering to choose for
.] Nugen stereo placer/enhancer.
.] Mackie Finalmix good for overall-eq & pump up the volume left, right or on both channels.
.] All Fl-studio plugins are of course perfect to polish the sound. I can't wait for Fl-studio 8 as for a new plugin named Maximus. Perfect for if u want to attend the front of the loudness war.
And btw. Wave-editor such Soundforge/Wavelab, Cooledit & co... there are plenty important features to find in their pulldown-menu for rostoration & masterings sake. I'm sorry to have posted a long roman again but it's impossible to measure ur level of knowledge about this subject from distance. Plus i think it might be useful to put in some starting-points for those who have no clue atm. but want to start to diggin deeper. As told i couldn't covering everything. Therefore i want to give the hint there are alot's of mixing/mastering tutorials to grab on I-net. There are also frequencies tables to get for those who don't have these golden ears & worry they could messup their songs with bad equalization treatment. The EQ-table do show off the most important instruments & their recommend frequency range. So called Parametric Eqalizer offer a nice ability for a better overview & u can see the frequencies value too to get some oriantation.
I hope i could encourage a few beginners who secretly reading or at least have given some inspiration for the more experienced because with having so much possiblities to choose for, u never know before which plugin or further may say, ... way of mastering can suit the best. It's all a learning by doing & alot of trying. Individuality pure. Warning! ->Headaches & damages to the ears can be expected.
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AnimeMasta
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- Location: Australia
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TRON.dll
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NicolA.exe
*doh* what a big wallpaper for visualising the virtual studio u will have on road. 
However i could see u have installed Reaktor. If i may be honest there are some great synths that have been constructed by Rector-community. Saldy they eat up too much Cpu. And even if this wouldn't be the trouble i admit to fail making my own synths. I'm just good for programming sounds on a few synths that i managed to understand. Perhaps Synthmaker, which btw. will be part in the upcoming Fl-studio 8, would be an easier Forge for building virtual synths.
Tell us the complete system details of ur laptop & which laptop on the market to ur mind would fit best for music-production ? I play with the idea to buy me a Mac-laptop one day. At least Reason & Logic Audio would run there. Plus the Audioapp-scene on Mac does offer many interesting plugins & standalone tools whisper...meta-synth...whisper which aren't available for Pc.
Hmmm...u have Vegas installed....does it mean u like to make clips for ur songs ?
However i could see u have installed Reaktor. If i may be honest there are some great synths that have been constructed by Rector-community. Saldy they eat up too much Cpu. And even if this wouldn't be the trouble i admit to fail making my own synths. I'm just good for programming sounds on a few synths that i managed to understand. Perhaps Synthmaker, which btw. will be part in the upcoming Fl-studio 8, would be an easier Forge for building virtual synths.Tell us the complete system details of ur laptop & which laptop on the market to ur mind would fit best for music-production ? I play with the idea to buy me a Mac-laptop one day. At least Reason & Logic Audio would run there. Plus the Audioapp-scene on Mac does offer many interesting plugins & standalone tools whisper...meta-synth...whisper which aren't available for Pc.
Hmmm...u have Vegas installed....does it mean u like to make clips for ur songs ?
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Avi
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- Joined: Mon Apr 24, 2006 7:56 pm
AnimeMasta, here's the link to the wallpaper:
http://www.wincustomize.com/skins.aspx? ... 96&libid=8
Nicola: To tell you the truth, I haven't used Vegas yet. A friend of mine gave me his copy a long time ago when he realized that he wasn't interested in making videos after all. I would like to use it one day, but I'd have to be inspired to create something specific with it first. Until that day, it will just sit on the laptop and wait.
As for Reaktor, I find that it's better to download user made patches and load them up, then take them apart to understand how it all works together. De-constructing something is the best way to find out how it was built.
This laptop was given to me and needed a lot of work to get it running again. It's a wireless Toshiba Satellite with a Pentium 4 that was collecting dust in someone's home. It has less than a half gig of memory with a 60GB hard drive. I want to make it at least a full gig of RAM soon. The heat sinks were so clogged that it would shut off after 20 minutes of use. It was full of viruses and spyware. Besides the lack of memory, the only other remaining problem is that there is a spot on the bottom of the LCD screen from someone sitting on it while it was closed...it kind of looks like a stain when you view it from an angle. But it was free, so I can't complain. Most of the programs are older versions (Acid, Wavelab, Sound Forge, Logic, etc.), but they have served me well over the years and I'm very comfortable working with them.
And this concludes my "Show and Tell" presentation.
http://www.wincustomize.com/skins.aspx? ... 96&libid=8
Nicola: To tell you the truth, I haven't used Vegas yet. A friend of mine gave me his copy a long time ago when he realized that he wasn't interested in making videos after all. I would like to use it one day, but I'd have to be inspired to create something specific with it first. Until that day, it will just sit on the laptop and wait.
As for Reaktor, I find that it's better to download user made patches and load them up, then take them apart to understand how it all works together. De-constructing something is the best way to find out how it was built.
This laptop was given to me and needed a lot of work to get it running again. It's a wireless Toshiba Satellite with a Pentium 4 that was collecting dust in someone's home. It has less than a half gig of memory with a 60GB hard drive. I want to make it at least a full gig of RAM soon. The heat sinks were so clogged that it would shut off after 20 minutes of use. It was full of viruses and spyware. Besides the lack of memory, the only other remaining problem is that there is a spot on the bottom of the LCD screen from someone sitting on it while it was closed...it kind of looks like a stain when you view it from an angle. But it was free, so I can't complain. Most of the programs are older versions (Acid, Wavelab, Sound Forge, Logic, etc.), but they have served me well over the years and I'm very comfortable working with them.
And this concludes my "Show and Tell" presentation.
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AnimeMasta
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- Location: Australia
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NicolA.exe
Oh Avi that reminds me to the slogan: "don't look a gift horse in the mouth" because it's too rare u get gifted with something that is still original boxed or at least in an useful condition. In ur case u had to reinstall Os & u try next to modify an older machine to achieve a value that rather would suit for ur work. I wonder guys like u that have these neveres left for polishing older gear such guitars & now a laptop. This kind of thinking also prevents sometimes to spent more money for a newer product as affordable at the moment. But sometimes the enthusiasm for the home constructur doesn't get paied back & at the end it "might" turn out it would have been better to save the money & time for a new product. That doesn't mean u do wrong as it proves further more u ae an adult & we know we live in hard times were everyone lacks of money. In europe it isn't any better. For example the economy atm. is activ & brings the money but the middle class & the lower-middle class doesn't feel any wins thanks to the high taxes. So only the rich people do make the profits & companies don't need to pay high taxes which is one of the reasons why even american companies such GM & many more have their branches in Austria if they want to expand their biz in middle europe too.
But back to the topic 1 gb ram & a sophisticated cooling system is crying to be built in ur laptop. The lack of harddisc space can be compensated with an external drive as long u don't run out with usb-slots (1 for mouse, 1 for a midi-controller & the last for the drive). Generally considered with the changes u then may speak of an useful portable musicstudio. Without them u may be happy to use it for playing emulated oldskool games. Btw. older laptop....my brother owns an older Sony Vaio. Soon he wants to buy a new laptop & the older ones will get our mother to bring her closer to the new communications standards. It is clear she needs Internet too finding informations about certain companies, products & womanly stuff. In exchange my brother will get back abit money from her so he can save some money too. Both then will be happy. 
The laptop is in an useful state & it doesn't look alike abused if i may say so but it could work better. For example the touchpad for the mousefeature doesn't work anymore. Therefore u need to work with a usb-mouse. And on the screen....*tee hee* there is a stain too but not from my ass sitting down on the computer. The little story for this...for 3 years i started to borrow his laptop from time to time in order being able to make music with Reason in the gardenhouse of my father which is situated in a suburban where we have a nice greenzone in our town Vienna. My backpack always was full of cloths, care & cosmectis...so i couldn't have carried the whole equipment as such a laptop, mouse, some cds & a 2ocatve midi-keyboard. As my brother used to be a dirtbag which is no more, u could guess the screen of the laptop was blurred with dust & fat. Therefore i couldn't see it anymore & started to cleansing the screen. My misstake was that i used a cleansing agent (which will be used for cleansing windows aswell). I don't know how could happen exactly but a small amount of the cleansing agent could flow insides & since this day on the lower left side of the screen u can recognize the stain. Guess what how my brother reacted to this then after a week i met him again. 
According to my experience with laptop i could make a few songs with it but Fl-studio & some vsti without Fx-freeze to be installed with wasn't possible when i went over 4 used channels. 512 mb indeed is too low allthough it was standard in that time. With Reason it worked the best because Propellerhead designed a rackstudioNsequencer solution which should work on Laptops aswell to give the musicans the possiblity to leave to break the studiowalls thru. Often the best inspirations happens when u are on the way, sitting in a park or bathing in the sun. Often this happend & therefore it pisses u off because when u arrive back at home u might still remember the melodies & certain effect ideas but the feel for it has completely lost. The next problem is that his Laptop didn't had much storage battery. It only could last for near to 2 hours at full load which is normal when u play/record music. So this it turned out the only one option using the gardenhouse from my father where i could plug to the power. How do u plan to use ur laptop. If it's for road all the time...and if yes how will u solve the battery problem then ? The craziest idea would be to plug it with the car & if u loose insight of the energy level then ...f$?/&%! §%$$ $hit.
But back to the topic
1 gb ram & a sophisticated cooling system is crying to be built in ur laptop. The lack of harddisc space can be compensated with an external drive as long u don't run out with usb-slots (1 for mouse, 1 for a midi-controller & the last for the drive). Generally considered with the changes u then may speak of an useful portable musicstudio. Without them u may be happy to use it for playing emulated oldskool games. Btw. older laptop....my brother owns an older Sony Vaio. Soon he wants to buy a new laptop & the older ones will get our mother to bring her closer to the new communications standards. It is clear she needs Internet too finding informations about certain companies, products & womanly stuff. In exchange my brother will get back abit money from her so he can save some money too. Both then will be happy. The laptop is in an useful state & it doesn't look alike abused if i may say so but it could work better. For example the touchpad for the mousefeature doesn't work anymore. Therefore u need to work with a usb-mouse. And on the screen....*tee hee* there is a stain too but not from my ass sitting down on the computer.
The little story for this...for 3 years i started to borrow his laptop from time to time in order being able to make music with Reason in the gardenhouse of my father which is situated in a suburban where we have a nice greenzone in our town Vienna. My backpack always was full of cloths, care & cosmectis...so i couldn't have carried the whole equipment as such a laptop, mouse, some cds & a 2ocatve midi-keyboard. As my brother used to be a dirtbag which is no more, u could guess the screen of the laptop was blurred with dust & fat. Therefore i couldn't see it anymore & started to cleansing the screen. My misstake was that i used a cleansing agent (which will be used for cleansing windows aswell). I don't know how could happen exactly but a small amount of the cleansing agent could flow insides & since this day on the lower left side of the screen u can recognize the stain. Guess what how my brother reacted to this then after a week i met him again. According to my experience with laptop i could make a few songs with it but Fl-studio & some vsti without Fx-freeze to be installed with wasn't possible when i went over 4 used channels. 512 mb indeed is too low allthough it was standard in that time. With Reason it worked the best because Propellerhead designed a rackstudioNsequencer solution which should work on Laptops aswell to give the musicans the possiblity to leave to break the studiowalls thru. Often the best inspirations happens when u are on the way, sitting in a park or bathing in the sun. Often this happend & therefore it pisses u off because when u arrive back at home u might still remember the melodies & certain effect ideas but the feel for it has completely lost. The next problem is that his Laptop didn't had much storage battery. It only could last for near to 2 hours at full load which is normal when u play/record music. So this it turned out the only one option using the gardenhouse from my father where i could plug to the power. How do u plan to use ur laptop. If it's for road all the time...and if yes how will u solve the battery problem then ? The craziest idea would be to plug it with the car & if u loose insight of the energy level then ...f$?/&%! §%$$ $hit.
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TRON.dll
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I tried a Nintendo DS game called Electroplankton, which is more of a music app than a game. What I think would be real neat is if someone got several DS's and copies of the game to make some sort of a band. You see, Electroplankton is only good for creating parts of music really, just check out the first "iBand" video for a good example of how Electroplankton can be used.
I've been playin' with it for a few days and I've come up with some pretty funky, albeit random, beats.
If you have a Nintendo DS and you're into that kind of stuff, I'd suggest you try renting it or something, it's a pretty interesting music app, with somewhat fun to use, touch-controlled synthesisers and voice tinkering.
I've been playin' with it for a few days and I've come up with some pretty funky, albeit random, beats.
If you have a Nintendo DS and you're into that kind of stuff, I'd suggest you try renting it or something, it's a pretty interesting music app, with somewhat fun to use, touch-controlled synthesisers and voice tinkering.
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Avi
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I tried out the Synthmaker in FL8, and it's almost as confusing as Reaktor. I need to take a crash course in frequency modulation and subtractive synthesis...maybe they have a book for dummies in those categories?
I'm somewhat familiar with how FM works now, but sometimes I turn a knob and it does the opposite of what I predicted. Especially in the programs that have multiple oscillators. It's interesting to see how different frequencies affect others, but it's also frustrating when you're trying to achieve a certain sound.
FL8 also comes with a new type of limiter. It looks pretty promising, and it doesn't kill the CPU like some of my other compression apps do. There's also a new version of the ASIO4All driver included.
I often thought that FL gets a bad rap because of what their name used to be. I often hear people remark "You use Fruity Loops?!, and laugh as they run off to write minimal techno beats in Reason on their Mac laptop. Then, they hear my music and their attitude changes. There's NOTHING amateur about FL Studio, and I think the proof is in the music itself. Personally, I don't care what people are using these days, I just know what works for me. If you write good music, I can appreciate it even if it was produced on an over-hyped Mac...but it takes an elitist jerk to judge a person's work by what tools they used instead of listening to the music first.
Okay. The rant is over. FL 8 great.
EDIT:
I used to use FL only to compose my parts, and then export the WAV files to Acid where I would arrange and mix the song. I decided last weekend to attempt my first ever FL ONLY track, using no external apps (other than VSTi's that didn't come with the program). It's going so well that I don't want to finish it! This is the first time that I ever used the Audio Clip function, and I was amazed at how simple it is. It sure beats mixing a part down in FL, and then again in Acid. One mix and it's all done. The only limitations that this new method of song creation will bring shall be quickly remedied by doing only the necessary edits in Acid, and then export the clip back to FL to be inserted as an Audio Clip in the playlist.
I'm somewhat familiar with how FM works now, but sometimes I turn a knob and it does the opposite of what I predicted. Especially in the programs that have multiple oscillators. It's interesting to see how different frequencies affect others, but it's also frustrating when you're trying to achieve a certain sound.
FL8 also comes with a new type of limiter. It looks pretty promising, and it doesn't kill the CPU like some of my other compression apps do. There's also a new version of the ASIO4All driver included.
I often thought that FL gets a bad rap because of what their name used to be. I often hear people remark "You use Fruity Loops?!, and laugh as they run off to write minimal techno beats in Reason on their Mac laptop. Then, they hear my music and their attitude changes. There's NOTHING amateur about FL Studio, and I think the proof is in the music itself. Personally, I don't care what people are using these days, I just know what works for me. If you write good music, I can appreciate it even if it was produced on an over-hyped Mac...but it takes an elitist jerk to judge a person's work by what tools they used instead of listening to the music first.
Okay. The rant is over. FL 8 great.
EDIT:
I used to use FL only to compose my parts, and then export the WAV files to Acid where I would arrange and mix the song. I decided last weekend to attempt my first ever FL ONLY track, using no external apps (other than VSTi's that didn't come with the program). It's going so well that I don't want to finish it! This is the first time that I ever used the Audio Clip function, and I was amazed at how simple it is. It sure beats mixing a part down in FL, and then again in Acid. One mix and it's all done. The only limitations that this new method of song creation will bring shall be quickly remedied by doing only the necessary edits in Acid, and then export the clip back to FL to be inserted as an Audio Clip in the playlist.