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Matt Freak Flag

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  1. Like
    Matt Freak Flag reacted to Flexagon in Delays in psybient production   
    I almost exclusively use Waves H-Delay when I mix. Covers what I need nicely with super simple interface.
     
    Did pick up Ozone's DDLY "Dynamic Delay" recently though, it's free until 10/3/16. Haven't had chance to use it properly but looks and sounds very interesting, certainly different. 
     
    Other than that I can certainly tell you what NOT to use, if you use a PC then Ableton and NI's Replika really don't play nicely together. Just having it in my plugin folder crashed Ableton on startup. Luckily I had it as another freebie so after googling the issue and finding it was common problem I just deleted it.
  2. Like
    Matt Freak Flag got a reaction from neil (spatialize) in Tips for atmospheric/psychill sound synthesis   
    Oh sweet, I'll let my girl know about that.  I'm sure she'll understand.  
  3. Like
    Matt Freak Flag got a reaction from andorra in Delays in psybient production   
    Valhalla FreqEcho is surprisingly useful; I've had it for less than a month and I'm getting a ton of milage out of it already.  And, it's 100% free!  I find it takes real-time tweaking super well...  It's good at making warped, scintillating sounds out of mundane inputs.  If I have any secret weapons, it's probably going to be one of them.  
     
    This is going to sound lame but I find Logic's Stereo Delay great for 90% of my echo needs.  Separate crossfeed and feedback controls are great, along with programable inputs (i.e. you can make the right channel route to the left delay and vice-versa, and then each can crossfeed back to the other as the delays trail off).  
     
    U-He Satin has a delay mode, but I haven't gotten the hang of it yet.  
     
    I will have to pick up NastyDLY because I love a good chorus echo.
  4. Like
    Matt Freak Flag got a reaction from andorra in Delays in psybient production   
    Also: the "Bug Delay" in Logic's Delay designer = instant psychedelic slime.  
  5. Like
    Matt Freak Flag got a reaction from neil (spatialize) in Tips for atmospheric/psychill sound synthesis   
    Yeah, Omnisphere is amazing but you're right... it can be limiting if you have a preset surfing habit.  Too many sounds, and so many of them are so frigging cool.  Of course... that's also awesome if that's what you want.  When I get stuck preset surfing, I just start bouncing everything I like and then chop it up, stretch it out, resample and mangle it later.  
     
     
     
    Have you worked with Omnisphere 2 yet?  They massively improved the synth oscillator options.  Of course, if you just want super fat oscillators, you can use the samples, too... But in Omnisphere 2, you can use synthetic oscillators based on all sorts of analog and digital waveforms (there's a hundred at least), and you can use the synth shape/symmetry/hardsync controls on all of them.  Also, Omnisphere 2 lets you use any of these new synth waveshapes as FM and RM sources, *and* you can control the shape/symmetry/hardsync of the FM modulator...  Also, their Unison function now has drift... 
     
    I agree with you that Omnisphere's blank saw wave is not all that inspiring, but Spectrasonics really did well with Omnisphere 2.  I feel like they actually listened to what people wanted, as the mediocre (well, terrible, let's be honest) FM in Omnisphere 1 was totally unsatisfactory and lots of people complained.
     
    And yeah... Omnisphere's presets are great, but it's so worth learning how to program your own sounds on it.  It took me a lot longer to learn than say Sylenth, but at this point I wouldn't ever want to be without it.  It's so deep and it does virtually everything well, even psytrance bass or massive supersaw sounds.  
     
    But for simple and fat... U-He DIVA is my other go-to right now.  
  6. Haha
    Matt Freak Flag got a reaction from PetroL 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.  
  7. Like
    Matt Freak Flag got a reaction from Spinnet (One Arc Degree) in Stereo width VST recommendations   
    http://www.stillwellaudio.com/plugins/oligarc/
     
    This is a plugin suite with a few things; there is an all-in-one filter, distortion, chorus, phaser, limiter; you can also use each one individually.  
     
    The chorus and phaser in stereo mode are excellent for width.  Try throwing the default preset on aggressive bass sounds or on pads.  
     
    Be careful not to overuse...
     
    Best part: while these aren't technically free, the demo policy is very liberal and has no constraints - you can try before you buy for as long as you want with no clicks, pops, dropouts, wooshes, or any strings attached.  
     
    That being said, what unknown music said earlier in this thread is the right advice: plugins aren't often the best way to get stereo width.  Stereo delay, reverbs, Haas effect, and simple panning are all often better than slapping a chorus or phaser on your source, which many times just turns the sound into stereo sludge.  
     
    Bonus: Bombardier, on the same site, is maybe the best software buss compressor I've ever used.  Feed-forward / feed-back, detector filter options, variable RMS detection (from instant to 300ms!), max gain reduction control, oversampling (if you are into that sort of thing), wet/dry knob.  Also, unrestricted demo :D
     
    Their other plugins are good, too.  Try a bunch.  I use The Rocket a lot for parallel stuff on drums.  
  8. Like
    Matt Freak Flag got a reaction from Phase47 in Tips for atmospheric/psychill sound synthesis   
    That is a massive tune with some massive sounds.  Awesome.
  9. Like
    Matt Freak Flag reacted to Phase47 in Tips for atmospheric/psychill sound synthesis   
    If you check the first track here (Remains) https://synphaera.bandcamp.com/releases- it's pretty much what you describe: sustained bass, warm pads, atmosphere and sequences. 
     
    The main thing is to, in your arrangement, make sure you aren't doing too much in any given frequency range. Make sure you spread the material out over the full range. You especially don't want too much overlap in the low-mid (mud) or the high-mids (harsh). Also, make sure to concentrate on your source sounds before you apply FX or else you're just taking a not so great sound and making more of the same.
     
    The other thing is, some sounds, you'll want to use your FX inline, other times on a send, to get different depths in your sound field. Delays work great in both places, but an analog delay (say Minifooger) or any "colored" delay (VST) on send can be a great way to glue sounds together - so you can have a wide variety of sources, but they'll all sound like they're in the same "space" if you do little tricks like that.
     
    Best advice though, use your ears and follow where they lead.
  10. Like
    Matt Freak Flag got a reaction from Vyomanaut 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.  
  11. Like
    Matt Freak Flag got a reaction from Gagarin Project in How does your, or somebody elses, studio/DJ-set-up looks like (take a pic and post it and maybe explain what we see)?   
    Who me?? 
     
    Haha, I wish that was my studio!  Blackbird Studios in Nashville.  That room is probably one of the most amazing feats of diffusion ever built, and it's stunningly beautiful as a bonus.
     
    My setup is pretty decent but it is a total mess right now... cables, instruments and eurorack modules strewn all over the place... I'll post a picture here when I get tidy    
  12. Like
    Matt Freak Flag got a reaction from Lorn 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
    Matt Freak Flag got a reaction from via'on 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.  
  14. Like
    Matt Freak Flag got a reaction from Spinnet (One Arc Degree) 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.  
  15. Like
    Matt Freak Flag got a reaction from Gagarin Project in Useful Software   
    Whoa, f.lux is awesome.  Thank you for that.  As someone with inverted sleep schedules, this is amazing.  
  16. Like
    Matt Freak Flag got a reaction from Gagarin Project in How does your, or somebody elses, studio/DJ-set-up looks like (take a pic and post it and maybe explain what we see)?   
    Diffusion!
     

     
    This pic comes up all the time on acoustics threads on Gearslutz etc.  
     
    Blackbird Studios in Nashville.  Studio C.  
     
    I want to just listen to them ATCs.  
  17. Like
    Matt Freak Flag got a reaction from Gagarin Project in What laptop is the best choice for modern digital DJ'ing.   
    How close?  I really don't think it should be an issue.  Your monitors should be a couple feet apart for acoustic reasons anyways, if you can.  
     
    Never been a problem on my end with SSDs, but the speakers were always a couple feet away.  
  18. Like
    Matt Freak Flag got a reaction from Spinnet (One Arc Degree) in What are you listening now?   
    edIT - Ltlp
     

     
    Great tune off phenomenal album.  Glitchy, laid back, and soulful.
  19. Like
    Matt Freak Flag reacted to yiannis in What are you listening now?   
    Very good in general IMO, I like part II, where the pace drops, a bit more. I must mention the insanely funky Kaleidoscope Clouds and the deep and "spiritual" Gethsemane as standout tracks for me.

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