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1038291 Posts in 41958 Topics- by 33583 Members - Latest Member: galangs

September 02, 2014, 10:57:14 AM
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1  Developer / Audio / Re: Show us some of your music! on: August 23, 2014, 05:10:07 AM
Here's a track I did for 'Light', from Just a Pixel and published by Team 17:

https://soundcloud.com/gavinharrison/light

Vocals from Rachel Dey.

More music from the game can be found here:

https://gavinharrisonsounds.bandcamp.com/album/light-original-soundtrack
2  Developer / Audio / Re: About EQ on: August 21, 2014, 07:11:44 AM
It's quite a long topic, but trying to keep things short and simple…ultimately as you work more and learn more (as we all keep learning whilst we work!), you'll start to find that by doing 'x' at 'x' frequency you'll achieve a certain type of sound.  Want a crisp snare?  Boost around 3k, or you could try 8k for a real snap.  Want to bring out vocal clarity a bit more?  Try a little boost around 1.5k.

Each instrument is powerful in a certain area and you want all your parts to be able to gel well rather than all occupying the same space.  Do try and EQ when listening to your entire track, otherwise you can spend ages getting one part to sound lovely only to discover against everything else it sounds terrible…a song is the sum of all the different parts.

Of course, all this relies on the sound source you start with being recorded well / in a certain fashion.  It really comes down to experimenting, try an EQ on something and if what you're doing makes things sound better than go for it.  I will say do try and aim to cut rather than boost where you can.

I've had a quick look on the internet and this article, whilst being old, is a good read:

http://www.soundonsound.com/sos/1995_articles/mar95/eq.html

I can say no mix is perfect and you'll always go back to something when you hear it and wish you'd done things differently, trust me on that one!   
3  Developer / Audio / Re: About EQ on: August 21, 2014, 05:54:08 AM
There are sort of 'rules' that you can generally adhere to, but the best rule to follow is if it sounds good…it is good!  One thing I would say to always check is the bottom end, some things can get lively…especially synth patches.  Always HP anything where the bass doesn't need to be present.  This will also have the effect of allowing you to push your mixes louder without the need for heavy limiting.

The part that says, if it sounds good, then its good, I understand that part. But then you say that checking the bottom end is important. What do you exactly mean with checking? What am I looking for?

Well take something like an electric guitar, anything that happens in the lower frequencies will be pretty worthless (obviously different for a bass guitar!) so you'll generally want to hi-pass them.  Personally I'd say 40-50hz is quite high up to start cutting, though it would depend on the slope you have on the roll off.  That being said, there are no solid hard and fast rules!

Ultimately bass takes up the most energy in terms of frequencies, so taking out unwanted bass will not only make mixes sound better but will also allow you to go louder without smashing a limiter!
4  Developer / Audio / Re: About EQ on: August 21, 2014, 02:17:22 AM
There are sort of 'rules' that you can generally adhere to, but the best rule to follow is if it sounds good…it is good!  One thing I would say to always check is the bottom end, some things can get lively…especially synth patches.  Always HP anything where the bass doesn't need to be present.  This will also have the effect of allowing you to push your mixes louder without the need for heavy limiting.
5  Developer / Audio / Re: Music doubts on: September 25, 2013, 03:42:39 AM
Wow, well I guess it really depends on exactly what you want to do...but I can honestly say I have no artistic skills whatsoever and wouldn't expect to be able to pick up any graphics package and just be able to draw something.

So bottom line is you need to have some sort of instinct for what will work musically, this is the part that cannot be taught.  The theory behind composing is extremely important if you want to do it well, as is the theory behind any discipline.  However if you really want to just be able to pick up a music software package and experiment with ideas I'd suggest going with something that has a lot of prepackaged loops for you to play with.  So something like GarageBand (as has already been suggested) would be great, or something like Acid from Sony may also fit the bill:

http://www.sonycreativesoftware.com/acidsoftware

Ultimately there is no quick and easy fix to do something well, and as I said I would expect this across anything anybody chooses to do!

6  Developer / Audio / Re: Orchestral or chiptune with retro visuals on: September 18, 2013, 05:22:31 AM
No problem and all the best with the game, hope you find the solution you want...really like the visual style!
7  Developer / Audio / Re: Orchestral or chiptune with retro visuals on: September 18, 2013, 04:32:47 AM
Hey,

There is nothing wrong at all with mixing orchestral music with a chiptune / retro style and feel, in fact I've just done this exact thing with Orangepixel's recent game Heroes of Loot.  So I'd say go with what ever sounds best!

Gavin.
8  Developer / Audio / Re: studio monitors on: September 11, 2013, 12:57:45 AM
I'd say before you even think about monitors make sure you have the room properly treated acoustically...well, as much as is feasibly possible!  A bad sounding room will destroy mixes no matter what monitors you have.
9  Developer / Offering Paid Work / Re: [Paid] Seeking Talented Arranger on: August 30, 2013, 10:47:15 AM
Hi,

I would definitely be interested in working on this, my portfolio can be found at:

http://www.gavinharrisonsounds.com

What would be the best email address to contact you on?

Many thanks,
Gavin.
10  Developer / Audio / Re: Sir. Chipps (Chiptune esque track) on: August 01, 2013, 08:10:06 AM
Enjoyable listen for a hot summers day...I liked the part where it went mono around a minute in before stretching back into stereo!
11  Developer / Audio / Re: Breaking through as a pro musician these days on: May 31, 2013, 02:55:35 AM
TWA was David's first major game he scored, and it has gone on to be a massive success.  A part of that is of course right place right time, and the other part is the fantastic music writing and also the great game / story.  Finding a good indie developer who has the same outlook and drive as you is key, a good working relationship will breed a good product.

When I say musicians don't have a presence on the internet, I'm not always talking about the top 1% like the Hans Zimmer's, the John William's, etc.  I've worked with many top composers / producers who earn a very good living through my TV work yet several barely have any presence on the net.

Definitely have fun making what you do, that is a good mind set!  Smiley  But also as musicians we do have to remember we are making a product (much as that sounds unartistic) and all products need the right marketing.
12  Developer / Audio / Re: Breaking through as a pro musician these days on: May 31, 2013, 02:42:40 AM
Just on the part regarding followers etc, some of the main musicians I know making a living today barely have a presence on the internet.  Personally I think it's becoming more and more important, but it's still a matter of getting out there and meeting people at conferences, meet ups, etc.

Are you looking to become the next Hans Zimmer or are you looking to make a living from music?  You have to start by looking at all the ways to make a living from music and if you become the next Hans Zimmer in the process in terms of followers etc then it is a bonus!
13  Developer / Offering Paid Work / Re: Pixels Needed for Roguelike Game on: May 23, 2013, 04:50:53 AM
Hi Peter,

Just posting here as requested re sound design...my email is [email protected]

Thanks!
14  Developer / Audio / Re: How to equalize/prepare a song for a smartphone game? on: May 03, 2013, 04:12:04 AM
Personally I don't come from the school of thought that you should mix just for a smartphone speaker, remember people can use headphones...a good mix should sound good regardless.  However, that being said it is a good thing to think about the target audience and pick instruments that are going to accurately convey what you need.

Another thing that is perhaps more important, how does your mix sound when summed to mono?  Also, what sort of mastering did you do and how hard did you limit the sound?

Lauchsuppe gives some good advice in my opinion, adding a touch of distortion or better still run the bass through a tape emulator plug in to introduce some harmonics and it will improve things.  If you want me to take a look at the mix (no obligation, just helping!) I'd be happy to do so, just send a PM.
15  Developer / Audio / Re: Harsh Criticism Thread on: April 25, 2013, 03:33:22 AM
Ahhh yes, common ground...compression done wrong does more damage to a track than most things done wrong I'd say!

I do agree regarding dynamics, the hardest part usually is when going for mastering (I rarely attempt to master my own work!) generally the dynamic range has to be kept to 10db.  Anyway, again sorry if I offended...though we're now at risk of derailing the thread with a general music discussion anyway!  Smiley  Funnily enough, with vocal tracks I actually try not to compress and chose to ride the fader as much as possible instead...so clearly we are polar opposite when it comes to using compression, but hey...as long as it's working for both of us then it shows more diverse production techniques!

Thanks also for responding and not just dialling out of the thread, 7am is indeed a dangerous time...
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