psyfi.co.uk

Cheers dude's

This sounds great. It all leads nicely and naturally in to the next part. The only bit I'm don’t like is the "Yeah" sample. I find that sort of thing a bit cheesy and of putting. This is just down to my own taste however. Good work

This sounds really really good xiphiaz. I'm going to have a look for this chi cha trak everyones raveing about.

Hello Daze. You track starts of really nice lots of ambient texture happening here. But the tune soon gets pretty busy as this just builds up and doesn’t fall away to give the rest of the tune the space it needs to be heard both in arrangement and headroom respects. Your kick and bass cant really be heard over the other sounds, which need to be turned down as the track really starts to clip badly and audibly distorts. If you can't hear what I mean then open the track up in an audio editor such as cool edit and look at the waveform. Your kicks are being chopped off flat and you left with no headroom at all. Once this has been taken care of in the mix down stage I'm sure the tunes true sound will be better heard. It just got a little too naughty for my monitors at the moment. Sorry to be so negative but I’m not saying that the track is badly written it sound like you have the skills to write a good track and this would be one once the audio problem has been taken care of.

If you haven't come across the DFX buffer override then you should have a look at it. http://www.plugzilla.com/support/plugins/d...4-27.7907629525

Hello sundrop. Thanks for your comments. I use logic 5.5 on PC I think I may well be going back in to this tune soon to add some more stuff to it and make it a couple of minuets longer. I think I might beef up the second half to make it sound more powerful as well. Good call sundrop.

Hello. I've just writtine this little tune and would like your oipion on it. It's called Electric Melvyn's holiday and can be found at the top of my music page. Let me know what you think of it and how it makes you feel. http://www.psyfi.co.uk/music.htm

The album has been on loop since I got it and it will be for some time yet.

Cheers dude. I'm really happy that you like it in fact this tune seems to have had a good responce. Must be the Freebass.

Hello skakaka I'm useing Logic 5.5 a 383 fat freebass for the bass sound the yamaha cs1x for piano and vst are z3ta for the organ vangusrd for leads n stuff slayer through gutair rig drum samps thorugh the esx24 ummm and i think thats it of the top of my head. Happy you liked the tune

I wish it was a joke

Hello Strifer. Glade you could hear some originality in there. IM were a large part of my musical induction to Psy in general but my tastes have broadened dramatically over the years and my music is bound to follow. The monitors I'm using are Alesis M1 MK2 I bought them as part of a stock clearance at turnkey.co.uk for £199.00 GBsterling that’s about 379.45 USD there are usually £225.00. You can find them on Ebay cheaper but I wanted warranty for them. The bass is handled a little funny but it is accurate If you are looking at getting something cheap I would sagest ebay or look around for a deal. The US online stores seem to be cheaper anyway. I would have gotten some from there but they don’t deliver out side the US if that’s where you are then you should be OK. P.S. I got the Piano inside I just have to rebuild the wall now. Woops

Yeah. Just got to get the bugger in my room now. Crickey.

Cheers mate. I'm useing a 838 freebass analouge rack synth for the bass line. Its my bros but he hasn't used it in years. As for the pianos I have great news. Today I'm going to pick up an upright piano the I won on Ebay for 99p Wow. Now all I have to do it get hold of a couple of good mics and I should be sorted.

The secret is, and keep this to your self. Once you have been making music for a couple of years a strange man turns up and hands you a box, which turns any noise in to a better one. All you have to do is singe this little contract. I didn’t read the contract fully. Something about my soul being the property of the 1st party after I have finished with it. Mainly just legal jargon.

if you want to go with a lap top you could do worst than check out this site. http://www.nusystems.co.uk/buy.asp?categor...io_Laptops&b=11 You get to select the soundcard you want and all that stuff but just watch the price go up as you do. I would recomend you get a Desktop for the production and then a Laptop for giging some time later. If your going to get a studio together in time it wont matter if it moblie or not cus it wont be. PC big and heavy but more powerful and cheaper than a lap top.

Yep I'm goon leave it for a bit and not only because the neighbours have come round and asked why threes a boom-boom sound all the time. Woops

Wicked Iains heading of to Glade. We'll all have to turn up tune in and geek out. I'm still struggeling with the bass on this one. Boosting it cutting is listening to it up side down. Can't seem to find the right level for it at the moment. My head is feeling dun in over it infact. Theres so many other things I could have gotten done today but....phnerggg?

Hello psy plp. I have just written this new tune "Video Nasty" Its the first trak done on my new Monitors so please let me know what you think of it. http://www.psyfi.co.uk/music.htm

Like your FX sounds they are well done. The bass line nice but the bass sound could be a little tighter. maybe some compression. The Kick sound is good but its alittle to quiet in the mix in relation to the bass. You could bring this up or push everything else down in volume or just meet in the middle some where. It dosn't sound like the kick and bass are shareing any of the same eq space so you should have plenty of room to adjust the kick volume without to much worrie. That the only thing constructive I have to say. The rest of the tune is wicked. Well done.

You could have people submit midi files to play out of an on off selectible player to over come narrow-band issue but who wants to liten to midi tunes?

Cool. Can anyone join in?

phew I'm glad I didn't have to write this. Cut and past is our friend.

Okay heres some bits of a thread on another forum. Its Ott answering questions on the basics of compression. Might be of help to some Newbies and other alike. Quote:Originally Posted by fuzzikittenI know that the threshold sets at what volume the compressor kicks in while the ratio sets how much. So with the threshold I can leverage when the compressor starts, and with the ratio I can leverage how 'deep' or strong the compression. With the attack I can adjust the speed of compression, which for fast sounds (like percussion) needs to be faster to keep up with the rise in volume. I use the attack to preserve the initial transients of the sound and thus some of the dynamics. Spot on.Quote:Release time specifies how long the compressor stays engaged after the sound has dropped below the threshold... I think. Ohh, a hole in my understanding!Do compressors start to release immediately after the sound exceeds the threshold or do they wait until the sound drops back below the threshold to enter the release stage? I'm looking through some manuals now and they all define 'threshold' as "the input level above which the compressor starts acting", which doesn't really answer my question.Now that I really think about it, I'm actually very unsure how the release setting affects my sound. I know that on some sounds, like a hihat, the release times are very noticeable. But on others, like bass, I have a hard time hearing the effects of the release value. I understand how the attack affects my transients, but how does release factor in to this? The release time is the rate at which the compressor reverts [recovers] to its inert state. It is a "rate" as opposed to a "time". As the input signal reduces, the gain reduction applied by the compressor reduces - at a rate set by the release time control.When a sound exceeds the threshold level, the compressor starts working. Gain is reduced by whatever ratio is set , and it reduces at a speed determined by whatever speed the "attack" is set to. When the sound either stops or reduces in level - regardless of threshold level - the amount of gain reduction will reduce. The speed at which it reduces is the "release time".So - take for example a brass stab. The compressor threshold is set at -10db.The ratio is 5:1The attack is 10ms.The release is 40ms.The brass stab plays at -5db, exceeding the threshold by 5db. As soon as the stab exceeds the threshold level the compressor starts to reduce the gain, but the rate at which it acts is controlled by the attack time. 10ms after the threshold is exceeded, the compressor has reduced the gain by a factor of 5:1, meaning that for every 5 decibels that the sound exceeds the threshold level, the actual output signal only rises by 1decibel. Because of the attack setting, the first 10ms portion of the sound [the transient] passes through untouched, before the compressor bites in and reduces the level. This gives the effect of adding a 4db spike to the front of the sound making it more "present" or more "aggressive". Great for basses, kiks, snares etc. Or brass stabs.As the brass stab ends, the level decreases and the compressor attempts to return to it's inert state. The rate at which it does this is governed by the release control. 40ms after the sound finished, the compressor has smoothly returned to it's inert state.The attack and release settings on a compressor are only partly analogous to those controls on a synth envelope generator, and then in certain ways they behave quite differently. On a compressor they are not absolutes, in that they govern speed of reaction in relation to the various signals they encounter, rather than actual absolute times to open and close. The correct term for this is "slew rate". A better analogy is the portamento [glide] control on a synth.Think about the portamento [glide] control on a synth, and how higher [slower] values mean that the synth takes longer to reach the note you play. As always, the best way to find out is to experiment until the concepts become clear in your mind.Incidentally, the Focusrite cost £850 but the Drawmer was free - payment for editing a Shpongle track. It had been gathering dust in Simon's rack for years and I'd had my eye on it for a while....__________________ *struggles to wrap brain around new concepts*So the 'release' sets how fast the compressor 'lets go' of the sound, once the sound peaks in volume and starts to reduce.So if I wanted to preserve transients on the release-side of things, I would want as fast of a release as possible, because the faster the compressor lets go the more of the natural transients will be heard (as opposed to attack, where the longer it takes to engage the more transients are heard). Too fast and I will hear the compressor 'let go' and get that pumping effect, so it's a balance of fast release vs pumping, correct?So I guess on the release side what I'm listening for is the pumping effect to tell me it's too fast and that I need a little bit longer release?And, given that the previous sentence bears some truth, is there a similar thing to be listened for with the attack to tell if it's too long?***I guess Simon preferred the TC Electronic Finaliser as his compressor then? I don't see any Drawmer gear other than the Gate on the 'Technical' bit of his webpage... http://www.shpongle.com/hallucinoge...d-technical.htmI have one bit of hardware - a rack k2500. It took me a year and a half to finally bite the bullet to learn to program it, but now that I have I've started to appreciate the joys of hardware. It just sounds so *good*. Thank you for the help in understanding this - I've never thought these 'finer details' of compression through so much. ________________ Quote | Reply - Report Quote:Originally Posted by fuzzikittenSo the 'release' sets how fast the compressor 'lets go' of the sound, once the sound peaks in volume and starts to reduce.So if I wanted to preserve transients on the release-side of things, I would want as fast of a release as possible, because the faster the compressor lets go the more of the natural transients will be heard (as opposed to attack, where the longer it takes to engage the more transients are heard). Too fast and I will hear the compressor 'let go' and get that pumping effect, so it's a balance of fast release vs pumping, correct? Exactly.Quote:So I guess on the release side what I'm listening for is the pumping effect to tell me it's too fast and that I need a little bit longer release? Pretty much. The faster your attack and release times are set, the more you will hear the compression effect. Quote:And, given that the previous sentence bears some truth, is there a similar thing to be listened for with the attack to tell if it's too long? Yes. Attack too long = lumpy sound.All a matter of taste though, obviously. As in so many things, "wrong settings" can sound brilliant...Quote:Thank you for the help in understanding this - I've never thought these 'finer details' of compression through so much. I've said it hundreds of times - the compressor is the most important tool in your box. You can use them to make things sound louder, quieter, smoother, lumpier, bigger, smaller, dirtier, cleaner, brighter, darker, fatter, thiner, shorter, longer, wetter, drier, etc etc etc etc....__________________

I've been on at him over MSN about it. I think he wants to get in free. Don't we all.