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Kept the kick, bass, chorus gtr and vocs...
@poopot - what AKG headphones are you using with that plug in?
That plug-in makes a difference when you have headphones on. It gives you a bit of crossover between the ears, makes it appear that you are sat in front of monitors. It’s free and cuts the audio after 3 minutes but just hit stop and play and it starts up again... just turn it off before you bounce your final stereo track!.
I have this also. https://www.112db.com/plugins/redline/monitor/
Easier to dial in as it’s got a nice GUI but it’s a paid for jobbie. Again, turn it off before you bounce the final track...
I'm part way through a load of Udemy courses on mixing, production, et al because I realised how much I didn't know about those dark arts.
When I'm done, I'll play.
Both those plugins are pc and Mac!...
just had a look, my headphones are AKG K275.
The plug-in software Instrument is named Stylus RMX but the loops I used were all drawn from the Metamorphosis library. (So old that it is now only offered as a special order Legacy Product.)
In Host Sync mode, Stylus RMX locks into the project tempo and transport controls. It truly does play itself. Subtle use of randomisation controls keeps it from sounding too samey. The human artefacts of The Chicken Thieves' performance kinda float around the strict tempo electronic beat.
Meanwhile, I can now safely reveal that the tremolo-like effect on the Clean Riff Guitar part is actually a step filter. It must have been either the first or second factory preset on the pull-down menu. I immediately liked what it did so, I kept it. The only parameter that I altered was the wet/dry balance. This was because the effect was being used as an Insert rather than on an Aux buss.
The auto-wah effect on the clean strummed chords track came from Apple Logic Pedalboard. I had to run it through the Pedalboard A/B mixer to balance the proportion of filtering effect to the dry signal.
I am reluctant to write out enormous lists of what I did because, for the most part, I was just mucking about until something that I found interesting happened. For some reason, it is far easier to behave in this way towards the recordings of others than it is on one's own.
I wouldn't know. I would respect the source material at all times and resist all temptation to edit it to the point it was unrecognisable...
Great result though. Kudos
I melded the bitcrusher distortion of Trent Reznor with the wilful, "try it anyway" semi-randomness of Brian Eno and Peter Schmidt's Oblique Strategies. (I do not possess any of the actual card sets. I disagree with those who rigidly follow the instructions on the cards. I just steal the notion of throwing in ideas that conventional thinking says will not work.)
If I attempt another remix in a few days, it will probably be different again. If I could be arsed, I would cut up the music and vocal phrases so that they could be manipulated even further.
I only finished the first challenge last Friday night...