PlanetZ forums - scopeusers.com

I am done with a new track which is so weird that i was in ever doubt that i would bother finishing it.
On the forum-related side there is tons of scope in the track.

The Prodyssey (Noah) is used, together with Modular 3 (feat. Flexor). other synths is Waldorf Blofeld, MPC 5000, Nord Drum and Techincs WSA1.

All effects are from scope, except spacy reverb with is Eventide Eclipse. Including Blackbox filters, Echo35, DAS 2L, DAS C350 and DAS S9000.. Tons of the stock compressor and EQ from creamware (in the STM 48/96 mixer).

Its not pushed in volume which i normaly use DAS Brickwall Limter for, together with some mastering with perhaps psy-q and Master-IT EQ.. so it more or less a raw mix.

http://maggie.higen.org/file?id=54096B9 ... B61BBD6FB9

Rgs
Egil Hasting

drums seem pretty far back, or way far back.. kind of sparse arrangement. classic sounding seq bassline. Longer tones are creepy and ghostly. Mysterious feel overall. Seems like it could be grungy and more horrific with the drum more in your face and had a bunch of distorted synths. As is, it's more "phantom", but could be more "zombie apocalypse" if get what I mean.

Thats wierd coz I thought the drums were very well up front, including the roto-tom and especially the kick. The other sounds I liked because there was a good mixture of electronic and acoustic (sax) and some filtering effects I could imagine being done by Interpole. Effective trails on the piano.

Hello,

Thanks for feedback. I really enjoy the different perception of the track.. because it gives different views

What i think i could improve regarding the kick is the roundness of the kick. I will look into it.
Regarding tom- its the nord drum which is sampled down to the mpc in different settings.. i just love that Nord Drum .

The delay mayhem is the one and only SpaceF Echo35, which is one of the most amazing echo plug on earth.. reverb is eventide. But the Echo35 is programmed so it gives a sense of reverb feeling/tail together with the pitching part.

The basses are pure Modular 3 w/Flexor 3. Which is having an amazing sound..

Other filtering is the BlackBox from SpaceF. The voices is my wife (mangled on the mpc), the sax is my little brother .
.. so jackson 5.. watch out!

At least the kick lacks all lows, maybe that's where Ken's remark comes from.
You used headphones when mixing?
nice sounds and atmosphere tho

Ya, it's sort of the balance between the kick and bass. The order of presence for me, is like this:
1. tom, this is pretty loud (I'm talking about the one that comes in the right unison with snare, earlier part of the tune, not the "fill" toms)
2. bass (sounds clean)
3. kick (as hubird says, doesn't have quite the heft of the bass)
5. clap style sound mostly in unison with snare
4. snare (mostly because it's got its own reverb and the er pushes it back regardless of eq/volume)

The spatial effect on the snare pushes it back esp on headphones. The effect is less noticeable on speakers. It'd be nice to give the kick more body to bring it closer in line with the bass, and maybe cut down the body on the bass a bit so they can share space. That'd bring the kick upfront, so you can probably get the snare a bit more dry to align them with the kick. Swapping the clap sound and snare might make sense too. Get the snare dry and upfront, and push the clap back in the verb. Also, the clap unison gives the snare a lot of 4k area, so it may sound more balanced to boost the 200 area and add body do the snare.

btw, if the kick is baked in at this point (sampled) you could probably overlay a sin set at 50hz and tweak the decay to beef it up. Or classic "grab another kick and overlay it lowpassed" flow. But then you should route all kicks to a bus and make sure everything sits together with buscomp and eq. The drawback of the overlayed kick is that you an easily get conflicting frequencies so you'll have to teak the tuning and make sure it's not canceling out zones you want, or getting beating from similar, but off tune elements. Beating in a kick at low freq range sucks.

really cool track, it just starts round 3
a bit tweaking of the drums may apply, but (for my taste) it's nicely balanced...
(I may try the 'Trigger' Slate package on the kick, but I'm not even sure if that's a useful approach...)
well, more a reason to just use the software...
and possibly turn it up slightly by SonicTimeworks MasterComp, but that's about it - ready for iphone
tnx for sharing - and the reverb is sweet...

cheers, Tom

Okay.. i have tried doing something with the kick and bass.. but its not easy .

http://maggie.higen.org/file?id=ABF1E37 ... 51412478C4
I find it hard to balance the track, however i have tried.

Thanks for all the feedback, i realy appreciate it!

Rgs
Egil

Kicks definitely got body. Almost over bearing, but say if 5 was just right, and 6 was over, this'd be like 5.4. It's in the strikezone so I think it's already there.

Just some additional points. The kick feels a bit over bearing in this case since it's relative long decay, and the root pitch is a bit high. So while the pitch mod range is wide (a bit of zip in attack), and reasonably fast (bit of laser sound, rather than a snap), it gets close to the root pitch in the later part of the amp decay, where it gives a bit too much body because the root pitch is high. If you drop it more, you'd get more of a quick drop into 60hz zone, giving it more subbass rather than roomy body. 100hz zone you hear a lot in the current kick is great for rooms like club situations. I think you may have had difficulty increasing body and bass presence because there simply wasn't anything there below the root pitch.

Anyway, I can go on and on about this.. there's really no perfection, but really depends on the effect you want to achieve. And I think to a great degree, the spooky piano and the driving bass has already accomplished this.

Sorry to keep nagging at the stuff. I actually really like this piece because it has a very original vibe to it.. Not as in "this technique was never seen in music history" or anything like that, but it has a certain sponteneity that is very natural and real. And for whatever reason, I keep listening to it over and over, viewing details, taking measures, pulses, taking a step back and checking proportions.. But anyway, it's good stuff. I'm actually rebuilding a section of this piece to share with you how I envision it with the zobies and gore. It's and interesting piece.

I totally agree on the part with the bass/kick body. The track started out in one direction and turned out in another. So its been chaning quiet much from the start. However it is been a very good experience in my first track done purly on scope (mixing wise).

Here is the last version, not sure if its an improvement, but its another "sound":
http://maggie.higen.org/file?id=1B28EE7 ... D76AD46202

Thanks for the feedback! Very handy feedback that can help me when starting out next track.

Rgs
Egil

hey really glad u finished this,wow such a great song!, hard to put this in words since not something hear very often, so dreamy n hypnotic , every sound melody n fx u used here is perfection awesome work please make more of this

Thanks for the uplifting feedback!!

Cool relaxing atmosphere

If I was asked to do something with the song, I would like a more defined melody to which I could hang, well the background calls for a well defined melody to my understanding.

Then I would probably give the kick a much lower sound, eqing it a little like a bass kick and would give it a little glissando decay, don’t know how you call it, it sure has a name, well, hope you understand me.

Cheers

The kick is the snitch in this gang.. he should be pushed out and replaced by an another one.. but.. his charm made me keep him.. which was a bad idea!.
I agree with your melody suggestion, i could be stressing down the track a tad, and keep it more hanging...

I think i will close the track and include the thoughts and ideas into next project.

Thanks for the feedback!