[realmusicians] Re: Running Winize 7.5.2, god Help Me?

  • From: D!J!X! <megamansuperior@xxxxxxxxxxx>
  • To: <realmusicians@xxxxxxxxxxxxx>
  • Date: Thu, 24 Nov 2011 02:06:29 -0500

Well stated bro.
I personally love sfz, only cuz as a software engineer I love coding my own
stuff. It's like combining 2 of my passions, engineering/programming and
music!

Regards, D!J!X!

-----Original Message-----
From: realmusicians-bounce@xxxxxxxxxxxxx
[mailto:realmusicians-bounce@xxxxxxxxxxxxx] On Behalf Of Chris Belle
Sent: Thursday, November 24, 2011 1:55 AM
To: realmusicians@xxxxxxxxxxxxx
Subject: [realmusicians] Re: Running Winize 7.5.2, god Help Me?

Yes, that's right.

Well, I gave reason a whirl, and I won't cry if I have to live without it.

My conservative, but paying customers doing southern gospel and country and
more traditional recording don't need kong drum and hiphop stutter effects
and monster pads, they are happy with good bread and butter sounds, and my
classic rock guys like good solid mixing with guitars and basses and real
drums, a little b3 some real horns, you know, all that old great boring
stuff.

I'm really just a simple down home cat.


>And providing service for simple down home folks.


We may never win a grammy, but we're making some good music, and whether
it's the guy that needa a demo to get the gig at the local vfw, or the
gospel folk doing ministry, or someone who recorded their stuff in a trailer
somewhere and needs a rescue job because where they got it done on the cheap
didn't know how to get a sound, a good grounding in the basics will keep you
every time.

It's funny how technology changes, and we have more and bigger and fatter,
but good recording and the principals of getting a great sound haven't ever
changed.

I love to dabble in all sorts of music though, but my first love is country
and blues and roots music, I just love to get a real drummer in here and mic
up a kit, and sculpt sounds like that, or sweet guitar rhythm tracks with
capo in differrent positions and alternative tunings, and vocal stacks,
those are really challenging, getting everything to fit just right.

YOu can create about anything you want if you understand basic routing and
elements of what makes an effect.

A simple example is a gated reverb, sonar doesn't have any in it, but you
can sure make a good one from using a standard reverb, and a noise gate with
the right release.
and downward expansion.

and all that splitting up synths in to several bands of eq and processing
them differently, you can do that with sonar too, just need to build buses
and put different timed delays and filters on them.

When I was listening to the reason dmos, my brain was in over-drive, the guy
was showing how to do this and that, and when he said he tweaked this knob,
or that knob, to get that sound, I was translating to what I'd do in sonar
to achieve that same thing.

It's taking the long way around, but for us blind folks, it's the only real
way to get there sometimes.

Like sfz for instance, that'd be clunky and boring for sighted people, but
it gives us complete control of a sampler.
and playback.

I'm not saying sonar is the be all and end all, but out of all the daws, it
gives us the most basic building block and elements to work with, and
there's nothing new really in recording, all the hot shot software is either
samples, or physical modeling, now the faster processors have given us
better modeling, that's a developing technology which could really have some
nice supprises as time goes on, but the basic elements of putting together
sound in electronic music are stil the same.

I love taking a simple sound, and putting it through effects, and coming up
with something completely different, another simple example I had a hiphop
kick drum, but it was only one sample and boring, so I did eq automation and
on the off beats, changed the eq so it sounded like the beater was softer,
so it made that one sound be dynamic and sound like a different sample.

Same with toms, a snare, by using simple tools like eq and compression, you
can vary the sound enough to make it sound like multiple samples, and be
pretty convincing.

Changing the attack, and release and envelope, and all that kind of stuff.

And that's what I've discovered most complex synth sounds are, they took a
simple sound, and morphed it a lot of different ways, and then put it back
together.








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cb1963@xxxxxxxxxxxxx
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stephieb1961@xxxxxxxxxxxxx
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