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About produktrvb

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  • Birthday 01/01/1
  1. i freelance in film and television as an editor. most of the stuff i've done has been for channel 10 but i've just signed a contract for a programme that will be airing on channel 9. i started off as an avid technician (see: and worked my way up
  2. yeh i find the same issue with safari (beta3) on a MBP. it's fine in firefox, just safari that struggles with it. funny thing is, safari doesn't do it with any other sites. hmm
  3. i'll disagree with Young MC on this one too. although my days of spending hours on end in my local music store glued to the listening booths are over, i still enjoy browsing through the itunes* store - in fact, i find that i often stumble onto genres and artists that i would have never thought of before. listen to a few of their tracks, and based on those few listens i'll buy the album then listen to nothing but for the following weeks / months. then when i tire of it i'll jump back on and get some new ones. depending on how i'm feeling at the time will generally determine how many cd's (mp3's) i'll purchase but i still find those gem's you talk about - and i have many recent mp3's that have taken a few listens before i start enjoying them. perhaps it's a different story for people who download torrents with thousands of mp3's but it all comes down to personal preference and how passionate you are about music. i think it's great that it is that freely available - after all, i think you'd find that those who use mp3's as 'throw away items' are the ones who probably wouldn't even go into the record store in the first place. since mp3's have come onto the scene my music collection has quadrupled (if not more) and i think the exposure it has provided for music (not necessarily just the artists) has been awesome! * i use the word itunes to reference every digital source i get my music from
  4. sounds to me like some people here haven't worked with engineers before jester - some of your posts could come across as aggressive, however you do state valid information and good facts. the problem is, when someone reads the aggression and takes it personally they tend to over-look the stated facts (or intended ideas) and this ends up starting an argument as opposed to a discussion. i don't think anyone should change, and i don't necessarily think any of you need to be friends. some people are more creative and some people are more technical, and the nature of each mind is quite different. part should be taken on both sides to accommodate (as much as possible) for this and instead of getting wrapped up in these complications we should be learning what we can and dismissing the rest.
  5. ahh awesome thanks for that link - never quite got that far into it but now that it's under my nose i'll have a read
  6. well i'm sure there will be someone that will argue with me - but yes, i believe that to be true. logic's algorithms for processing sound are of a much higher quality than FL. and if you have a look at the platforms they run on - OSX's implementation of audio is much more efficient than windows (the audio sits closer to the HAL or something like that). i'm not saying that you cant get quality sounds out of FL. and i'm sure there has been music produced on FL that sounds better than stuff that's come out of logic - it's all about who's driving the equipment, but if you get a good sound engineer i'm sure the better sounding result will come out of logic. edit: my comment regarding OSX audio (core audio) most probably relates more to latency issues than quality, however the point still shows the priorities each company has with regards to developing it's applications. the fact that apple makes it software integrated with its hardware gives it a headstart when it comes to quality. and i know logic came from emagic but apple have been developing it with it's own hardware since v6 now and i think logic studio 8 is a re-write of it's engine to suit the intel chips. for anyone interested -
  7. yeh i've heard of future entertainment - that's awesome - good work! if you're happy with FL then stick with what you've got. i'd recommend against a new computer (if you've got the money for that i'd seriously look at getting a mac and running logic - but that's your decision and you should talk to some guys at a pro audio store to give you a demo of logic and have a chat about it). like i said, monitors and sound card come before midi controllers and synths, but if you're looking for a midi controller i'd recommend something like the novation remote 25SL (or the remote 37SL or 61SL if you want more keys) - i can pretty much guarantee you'll be happy with it and you wont need to upgrade it. automap takes away the midi headaches - it's awesome... basically you can just use it without having to worry about how to set it up. something like an x-station i'd advise against, just because i don't find the synth that great, the money is best put in other areas. just practice and learn with what you've got and save up the big ones for a real synth - and when that time comes, again, go into your favourite pro audio store and play with all the synths they got - by then you'll know what sound you're after and can find what synth will deliver the sound you want. (all synths are different, they have different characters. and depending on what synth you buy will depend on what your songs sound like so look into this one seriously)
  8. you can check out the post a pic of your studio thread to see what everyone uses, but i used a $250 tascam sound card for about a year before blowing the cash ($1600) on a RME fireface 400 and i've gotta say - the difference blew me away. what i did when starting up was spent $400 on a pair of beyerdynamic DT770 headphones, and used those in combination with my home amp and speakers (so i'd write on amp and speakers then refine the sound in the headphones for accuracy) until i could afford some monitors. then i spent $1500 on a pair of genelec 8020A monitors. which i'm happy with but i've got a feeling i'll be getting some dynaudio BM6A's in the next year or 2 which will set me back another $3.5k what i'm getting at here is, have a think about how serious you want to get, have a look at what will suit you, and make your purchases wisely. there's no point in spending $500 now if you're going to upgrade to a $1000 item in 6 months making it redundant. but most importantly - get something that suits your ears - as much as it's about technical accuracy, it's all about what sounds right to you.
  9. if you change all the eq settings on your amp to flat it will be more accurate, however i highly doubt it will be spot on. generally these boosts are a character of the amp / speaker, ie. the transistors and speaker drivers / cones physically have more copper around them allowing more voltage etc. to run through - i'm not quite sure going into this much detail but it's something along those lines so this boost is 'hard-wired' in the equipment. get yourself into a pro audio store (what city do you live in? - i live in brisbane and get all my stuff from music lab - let us know so that someone may suggest a suitable store for you) and generally they have a studio in there and you can have a listen to all the different types of monitors. these types of stores are also great cos you can speak to the dudes who work there and ask them all the questions you want - i've got a lot of my knowledge from there! it's also heeaps of fun to spend hours and play with all their toys also - i highly recommend getting an external sound card - usb or firewire, that way when you upgrade to a new computer / laptop / mac / whatever you can still use it. i wouldnt bother with anything less than say $300 so wait until you've got the cash but the difference here is similar to the amp and speaker situation. cheap sound cards will give you digital noise in your outputs (which wont matter to the actual song as it's all mixed and exported in your computer) but will matter to what you hear when writing the song. if you're eq'ing a kick and you (unknowingly) have some digital noise on your soundcard output it's not the best way for you to monitor your frequencies - so the better sound card you have, the less digital noise and the more accurately you'll be able to monitor your sounds. although i'm a firm believer in hardware, i still think a software-only setup with a good sound card / good monitors and someone who knows what they're doing, will beat a $100k studio with someone that doesn't any day.
  10. oh - if you haven't already, read this and just keep following all the links to stuff you don't understand - this helped me shitloads! edit: also this - --excerpt-- Vibration Sound is a traveling wave which is an oscillation of pressure. Humans perceive frequency of sound waves as pitch. Each musical note corresponds to a particular frequency which can be measured in hertz. Although the human ear is able to perceive frequencies ranging from 16 Hz to 20,000 Hz at the age of a baby, the average human can hear sounds between 20 Hz and 15,000 Hz.
  11. sounding good Adamwah - keep up the playing with eq's! already sounds like you're getting the hang of it, remember, it's all just training your ears so keep an eye on those numbers and values and play around with eq on every sound you make so you get an idea on what sits where. you can also keep an eye out when playing with your filter cutoff on synth patches. all a low pass filter is doing is just rolling of frequencies from the top down at a certain slope (measured in decibels per octave ie. 24dB per octave will be a steep slope, whereas 6dB will be longer and hence let in more of the higher frequencies as you lower the cutoff) - and the resonance is boosting the frequency at the point where it's getting cut off which gives more emphasis - or scream! one thing i thought i'd mention incase you are unaware, when talking professional monitors (speakers) - the reason a good set of monitors cost so much and the reason they differ from your home amp / speaker combo is the frequency response they give out. a $10k home system may cost more than a pair of studio monitors but that's because they're designed to give more power (louder volume) as opposed to accurate response. and due to the design of the amp & speakers, certain frequencies will be boosted or lowered to make your home movies / music sound better. a good set of studio monitors will give you a flat response. so what you hear is what you get - this may be part of your problem. ie. if your home stereo has a boosted low-end (300hz and below) everything that sits around there (kick, bass) will be louder, so you are going drop the eq around that range so that it fits - right? however... when you take it to a mates stereo that doesn't boost the low end, you've over-eq'd and it will sounds flat. same thing with headphones - sony headphones and dj headphones often boost low end so that when you're mixing in a club with a lot of noise around you can hear the kick clearly to beatmatch to. whereas headphones like beyerdynamic, for example, are made for studio recording and therefore give a more accuate frequency response. hope i've explained this ok - if not let me know and i'll try again
  12. welcome to the world of production quality! now... i'm sure there's others around here who have waaay more experience and expertise than what i do - but since i've got into producing this has been a big one for me! basically it comes down to mixing and mastering. and the tools you use to do so. in saying that, the raw sounds you are mastering are a big part of it also - if you're using a generic sound card with a pair of philips headphones to make a synth patch how can you expect to accurately monitor the sound you are creating? you need a good sound card and a good set of monitors when writing so that you get the best raw sound possible. i'm also a firm believer in hardware - at the moment, i don't believe software synths sound as good as hardware - sure you can get some sounds close to their hardware counter-parts, but you'll never get the depth and clarity you would from a piece of hardware equipment. i also believe that even if you do achieve that perfect hardware sound in a soft-synth, you dont have the flexibility to drive it as hard as you would be able to, had you used hardware. next is the way in which you mix, eq, compress, limit, etc, etc. those sounds. and the tools with which you do so. i had a good play / listen with a lot of DAW's before i settled down with logic - FL included, and one of the main reasons for my choosing logic was it's quality of sound output. it's never going to beat an analogue mixer (some day i will have one!) but it's pretty damn good. so sorry to say but a part of it is the fact that you're using FL (anyone who wishes to argue this i'm very open to hearing your knowledge on the matter). currently i use logic's compressor and limiter on most of my sounds and although this sounds good, it doesn't sound great. i was considering spending some cash on the waves set of plugs or a sony oxford compressor to get a better sound but instead i'm saving the cash for a liquidmix (dedicated DSP that emulates analogue compressors / limiters). Captain Terrific's Azzido Da Bass track is a prime example of this - have a look at the mastered version compared to his unmastered - this was done with liquidmix and you can clearly hear the difference. in short - hardware is going to make the difference (sorry to say). but all the hardware in the world wont help if you don't know how to use it - so get familiar with the tools you have available, and get the best possible sounds you can get out of your software - and if you don't have a good sound card + monitors, go get a loan and buy them tomorrow! also read up on mixing and mastering techniques - here's a good place to start -
  13. yeh thought it might have been the liquidmix - damn it i want one!
  14. wow. ! that sounds unreal man! very nice separation of all the components of the track, big sounds, in-your-face. impressed!