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via'on

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  1. Like
    via'on got a reaction from Trala Lama in do we need this forum ? question to ask   
    Although there's a small activity here, I think this forum is really cool for the releases update section.  
  2. Like
    via'on reacted to andorra in Album demo   
    This is very good stuff man! I love it! Let us know when you are getting this released!
  3. Like
    via'on reacted to Lorn in Album demo   
    I enjoy the progression in your tracks. Well done. I'll be watching for release.
  4. Like
    via'on got a reaction from Lorn in How do you start a new track?   
    I spend a lot of time improvising on my synth. Most of the time, It's a chord progression that drives me into a a song clip.
    Then, it's song building around this part. It can modify this to fit in a music genre I want to develop
  5. Like
    via'on reacted to Fabiano in Acid Eaters - Psystep Live Mix 2017 (psystep / ambient)   
    Title: Psystep Live Mix Type: Live mix Style: Psystep, ambient Tags: Psystep, ambient time: 50:00 min Date recorded: 06-01-2017       Track List
    1 - Zyon
    2 - Merlyn Silva (Acid Rmx)
    3 - Exp 01
    4 - Mopsyin (Acid Rmx)
    5 - Ozaki
    6 - Like a Lion
    7 - Chill.S.Dub (Acid Rmx)
    8 - Blueforest (Acid Rmx)
     
    https://soundcloud.com/acideaters
    https://www.youtube.com/channel/UCSkXycDxFRdE9D-jSwTUrmw
    https://www.facebook.com/djacideaters/
  6. Like
    via'on got a reaction from neil (spatialize) in Headphones recommendations   
    My favorites headphones:
     
    Live setup: Sennheiser HD-25 (good isolation, nice bass and power)
    Studio setup: Beyerdynamics DT-770 (closed) or DT-990 (open) (can be used for hours, warm bass, smooth treble)
  7. Like
    via'on reacted to Matt Freak Flag in Newbie producer looking for advice   
    Welcome to the forum
     
    I'm actually pretty similar to you musically.  While I don't care for trap, my live set right now ranges from downtempo breaks and psybient-infused trip-hop to midtempo glitchy funk.  I also chose Logic for production, though I still have to hack my way through Ableton (slowly) for performing.  I also use a guitar a lot, too: for my chill sets, mostly on soundscapes dripping with reverb; for, the dancier stuff, it's all about that clean 70s Strat spank. 
     
    You've got awesome gear already - top notch albums have been made with far less, so don't let anyone tell you you need this or that flavor-of-the-week.  What's your monitoring situation, though?  Good monitors are invaluable.  They don't have to be ridiculously good, but headphones or stereo speakers are NOT acceptable substitutes in my experience.  KRK Rokit 5 (not 8), entry level JBLs, or used Adams or Dynaudios would be my suggestions on a budget. 
     
    As for synths, the fact that you have Logic and therefor Alchemy means you already have what was until recently considered a top-tier third-party soft synth rivaling the likes of Omnisphere etc.  If you learn Alchemy inside and out, that will serve you forever, and you will always find new ways to use it creatively. 
     
    As for what to learn... I'm not sure what your current skill level is, so forgive me if something I say is either too simple or too complicated. 
     
    I don't know much about trap percussion, but I think the same rules apply as with any other genre.  Mainly, sample selection is king.  More often than not, no amount of processing will substitute for a well-picked (or, well-made) sample.  Can't polish a turd and all, and it's easy to suck the life out of your sounds if you try.  If I could go back and do one thing differently from day 1, I would spend less time polishing turds and more time keeping a better organized, well-curated sample library.  20 kicks that you like and can actually use are worth far more than 3000 unsorted kicks with 100 you might use but never be able to find, endlessly digging through samples while your creativity finds a corner in which to hang itself.
     
    If you're making bass music, you'll want to know the basics of... well, bass.  Yes, sidechain compression is a staple of the genre.  The now ubiquitous "wobble" or "wub" is a staple, too, and I'm of the opinion that making a good wobble takes a minute to learn and a lifetime to master.  I'd learn what a Reese bass is, too, and at least a few methods of making one.  Both wobbles and Reeses can be aggressive and heavy or mellow and smooth depending on your execution.  
     
    For the psybient stuff... there's a few staple sounds in psytrance/psybient that are worth at least learning, but you don't need to use them everywhere (or at all).  The psy-squelch or psy-fart, the trance gated pad or vocal, the sample-and-hold sequence, and more than I can think of are all still used all the time.  Time-honored techniques like the dub delay are used in virtually every genre. 
     
    If you work with vocals, consider learning a few advanced techniques.  Pre-compression, an underused form of side-chain compression, is amazing on vocals (or anything else) and surprisingly easy to do; learning how and when to use pitch correction is also key.  Logic has a very useable pitch-correction plugin, great for creative spacey auto-tuned effects. 
     
    Logic's compressor is awesome for a built-in plugin.  Learn the models - they are very different from one another.  I think an oscilloscope is a ridiculously useful tool for learning how different plugins shape a sound, especially if you find that you like to learn visually.  It's fantastic for watching how distortion changes a waveform, for example, and how this relates to your headroom. 
     
    Learn everything there is to know about Flex Time in Logic.  You'll find it's useful everywhere: from creative time stretching, to correcting performances after-the-fact, to chopping up drum loops... it's extremely well programmed, and the algorithms sound great. 
     
    Make sure you learn about sends and bussing and using auxiliary channels for reverb and delay.  To give you a starting point, I start with 4 different reverb aux channels and 4 differing delay aux channels on any given track, and just send whatever to them as needed.
     
    Don't be afraid to customize your hotkeys in logic.  Alt+K opens up the keyboard command list.  I have a ton of custom commands that I would never want to be without. 
     
    Eh, that's all I can think of at the moment. 
     
    Try things out and experiment at LEAST as much as you follow manuals and tutorials.  Alchemy alone is so expansive that you could watch every tutorial on earth and there would still be creative ways left to discover. 
     
    Twist knobs and have fun. 
     
    See my signature. 
  8. Like
    via'on reacted to Gagarin Project in production Feedback thread (place to ask for feedback)   
    This is a place to request feedback on your productions and demos:
     
    - Could be a complete track or it could just be an embyonic 8 bar loop. - You can ask for mix feedback / thoughts on the sounds used / track structure etc    Forum members will try to make constructive criticism and give some encouragement to help producers to see the good in our track.  
  9. Like
    via'on reacted to embri0n in Via'on - Stars and Beyond   
    what andorra said... i cant add much else. track is captivating and sound quality is 10/10.
     
    give us more!!
  10. Like
    via'on got a reaction from andorra in Via'on - Stars and Beyond   
    Thanks a lot for your feedback! 
     
    An album should be ready by the end of this year, so my tracks will be truly released.
  11. Like
    via'on got a reaction from Lorn in Via'on - Stars and Beyond   
    Thanks a lot for your feedback! 
     
    An album should be ready by the end of this year, so my tracks will be truly released.
  12. Like
    via'on reacted to Matt Freak Flag in Tips for atmospheric/psychill sound synthesis   
    Hey OP - can you post an example of anything you are making (or, an example of a song that does this really well that you like) ?
     
    Some ideas for pads:
     
    - Are you layering stuff?  A lot of great pad sounds are 2 or 3 or more pads layered (with one pad providing the low-mid warmth, another providing maybe the mid-range melodic component, and another providing the top-end shimmer).
     
    - What synths are you using/ are you only using synths?  Stretched-out melodic sounds, especially reversed, drenched in reverb can make amazing, organic pads that no one has ever heard before.  Synths like Omnisphere or Alchemy have lots of samples already for doing this, but you can just do it manually using warping in Ableton / Flex Time in Logic / etc.  
     
    - You said you are EQing out the mid frequencies - which ones?  I usually use pads to add extra warmth, movement, and depth into the mid frequencies.
     
    - EQ the left and the right channel differently!  I like to boost and cut a few frequencies differently on left and right channels to increase width.  Even better, slowly automate a different peak on each left/right channels.
     
    - Delay, chorus, reverb are all good for this, but can maybe sound bland if they are just used as static effects.  Do you automate your reverb sends or chorus amounts?  
    Some ideas:
    -- My favourite: I like to automate the reverb send up while automating a lo-pass filter down on the original pad.  This will make it sound like it is moving farther away, giving a great sense of front-to-back depth.  The reverse works well, too.  Or with a hi-pass filter.  
    -- Try a chorus with a very low rate but high intensity, automate the mix from 20% to 80% every 1/2/4 beats, then quickly back down.  This will make it sound like it is "pumping" from centred to wide with each pulse of the beat.  I like to combine this with regular side-chaining to a kick etc.  
    -- Old trick: automate the delay send, and then send that delay to itself.  Be careful because this might get loud, but if we do it carefully, we can make a pad (or any sound) turn into a completely different, ultra organic ambient soundscape of throbbing echoes.  If you want width, use a stereo delay (or maybe a flanger/phaser on the delay channel).  
     
    - Panning rather than widening... less is often more in production.  If you make everything detuned and wide, your song doesn't sound wide - it sounds like stereo mud. Panning some sounds left and some sounds right - and especially automating the pan - is often way better than just making something wide.  
     
    - Autopan plugins are great, but I like to automate the rate or width to keep them from sounding static.
     
    - Sometimes mono reverbs work really well for localizing a sound in the mix. I like to make sounds panned left, send it to a mono reverb channel, panned right.  On its own, this isn't as impressive as a big wide wet delay.  But in the mix, it is sometimes so much more spacious.  We can do the same with delay - then maybe try automating the pan of that delay from right to left again.  
     
    - Same philosophy, polyphony: too much polyphony can also make things unfocused, especially when working with bass/pads/atmospheres/multiple melodies.  Sometimes I like to think like in jazz, where the bass can play the root note and the pads can play the 3rd/7th/9th etc.  Leaves a lot of harmonic space for melodic instruments.
     
    - My other favourite: you need a microphone to do this, but even a cheap microphone is fine because we are trying to make weird sounds anyways right? Solo the pad you want, put the microphone somewhere in the room, maybe pointed at a wall away from the speakers, or even in the hallway, whatever... record 8 or 16 bars.  Move the microphone around to a totally different spot, do it again.  Then, pan one recording left and the other right.  We should have a very wide sounding pad, with lots of room echoes and reflections making it organic and interesting.  
     
    I have a million more ideas if this is helpful at all.  Just remember - there is such a thing as too wide.  1 ultra-wide sound and 4 sounds swirling in automated panning will sound bigger and more spacious than 5 ultra-wide sounds.  
  13. Like
    via'on reacted to Lorn in Via'on - Stars and Beyond   
    Yes good job. If you are wanting any kind of feedback, I think the base line at the end doesn't seem to quite fit with the overall atmospheric nature of the track. Nothing overly serious. Again well done. You should setup a bandcamp page to sell your music.
     
    Pax,
     
    Lorn
  14. Like
    via'on reacted to andorra in Via'on - Stars and Beyond   
    Amazing track! Very nice and rich bass driven downtempo, I love it!
    You've made very good job, even though the track is 9:33 long it keeps fresh all the way from start to end.
    Also the quality of production here is very, very good. Everything is well balanced and sounding good.
    I'll have to listen to this now few more times... Thanks for sharing!
    Btw. let me know if I can download or buy this track from somewhere.. I'd love to have this in my collection!
  15. Like
    via'on got a reaction from andorra in Via'on - Stars and Beyond   
    Hi there!
    Here is a new track, I think I'm in love with celestial bodies.
     

  16. Like
    via'on got a reaction from Gagarin Project in Headphones recommendations   
    My favorites headphones:
     
    Live setup: Sennheiser HD-25 (good isolation, nice bass and power)
    Studio setup: Beyerdynamics DT-770 (closed) or DT-990 (open) (can be used for hours, warm bass, smooth treble)
  17. Like
    via'on reacted to pangani in 432Hz/440Hz   
    This is the best analysis of the 440/432 Hz discussion I red so far...
     
     
    http://www.miltonline.com/2014/01/07/hertz-so-good/
  18. Like
    via'on got a reaction from Gagarin Project in Essential tips, plugins and VST   
    I love big knobs.
     
    TC Electronic make a good passive volume knob :

    I've been using it for 7 years, still handy and not much crackling. 
     
    Otherwise, to answer your question, maybe me most important trick I know about mixing is "all is about balance" : balance between instruments levels, spectrum occupancy and spatialization. Set a priority list in your head and don't be afraid to cut useless frequencies. 
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