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Guest Hanratty

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good basis. I would find a way to double, no triple, the stereo space of this track. Make this just the intro of a much larger space. Get deeper, warmer tones underneath and use a stereo spreader and some bussed reverbs n shit.

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Guest Hanratty
  On 3/28/2013 at 7:04 PM, Salvatorin said:

good basis. I would find a way to double, no triple, the stereo space of this track. Make this just the intro of a much larger space. Get deeper, warmer tones underneath and use a stereo spreader and some bussed reverbs n shit.

 

sounds good. i dont know what a bussed reverb is. to increase the stereo space would you use EQ and filters to take out frequencies? and/or lower the volume of what I already have to make room for new elements?

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  On 3/28/2013 at 8:15 PM, Hanratty said:

 

  On 3/28/2013 at 7:04 PM, Salvatorin said:

good basis. I would find a way to double, no triple, the stereo space of this track. Make this just the intro of a much larger space. Get deeper, warmer tones underneath and use a stereo spreader and some bussed reverbs n shit.

 

sounds good. i dont know what a bussed reverb is. to increase the stereo space would you use EQ and filters to take out frequencies? and/or lower the volume of what I already have to make room for new elements?

 

Increasing the stereo space basically means spreading your sounds into the stereo width, i.e between the left and the right speaker. A mix can indeed sound too "mono" if the different sounds composing it are all placed precisely at the point being between your two speakers. It's often a good idea to "pan" some sounds of your mix left or right so that it has a wider space.

 

That was for the first spatial dimension of a mix (the horizontal one, from left to right), but there's also another important dimension to take care about : the "depth" (virtually, the space which is in front of you and behind the speakers). With a careful use of reverb, delay, and such effects implying a delaying process of the input, one can indeed tweak the perceived depth of a sound. Example : if you don't put any effect at all on a sound, say a voice which was recorded in a studio with no natural reverberation, then the sound of this voice will seem really "dry", like it's coming directly from the speakers, which might make it not so pleasant to listen to. On the contrary, you can send this voice into a reverb effect, and tweak it so that you're only listening to the reverberated sound. In that second case you'll hear the voice like it's coming from very far behind your speakers (depending on how your reverb is set up ; usually reverberation time will be the first parameter that allows to play with this perceived distance of the sound). Then you'll have to find a good mix between the dry sound and the "wet" (fully reverberated) one so that your perceive the sound you're working on at a good virtual distance behind your speakers.

 

So I've to admit I wrote that while listening your track on my laptop speakers, but I thought that information could help. It sounds like it could be a very nice ambient piece : if you're not familiar with dealing with the stereo and the depth of a mix, I'd recommend you to try playing with the pan-pot of the different tracks of your mix, and try to send those sounds into one or several reverberations in various amounts.

 

Last thing : EQs are for correcting the frequency response of a sound (example : removing some low-med frequencies that are making a given instrument sound too muddy, or reducing the amount of high-med frequency because another given instrument is sounding too aggressive) or intentionally modifying the frequency character of your sounds, with both the aim making your the different tracks of your song sound like you want, and sound well together as a whole.

 

Good luck, you're starting with a good musical basis anyway !

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Guest Hanratty

thank you for the feedback, especially Antape with the helpful detailed explanations. I always do everything on headphones, which might encourage less use of spacious mixing. I don't have monitors. But I'll try to mix the pieces of this track again with more emphasis on creating a sense of space and see what I can come up with.

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I think for this type of sound it would do you some good to elaborate on texture. more layers, more experimentation with noise, make it a really good stew. right now this is a pretty tasty miso soup with a few hunks of tofu here and there, but i think it's crying to be a full on bubbling vat of pho, with all the fixins and double sriracha. play around with adding more and more sounds to create your white noise at the beginning. this reminds me of something that could be inspired by orb's adventures beyond the ultraworld, but if you notice the difference when you listen to that record you feel like you're getting flushed down the toilet. i just feel like a forgotten floater when i hear this track. this isn't to say that it's not enjoyable, it's just not as immersive. i wouldn't change a thing about how you have the song structured and how you have the melody. just more substance to make me feel like i'm getting swallowed whole into an alien anus. overall i think this track is quite good.

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  On 3/28/2013 at 6:09 PM, Frankie5fingers said:

pretty great sounding track. but i really didnt like the white noise. it pulled me outta the song.

frankie, you really are the man when it comes to consistently providing YLC feedback. good job!

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