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I Need Help Because My Sonical Idea Is Probably Impossible
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Omega Wood



Joined: Mar 03, 2008
Posts: 626
Location: Germany

PostPosted: Tue Feb 11, 2014 10:07 am    Post subject: I Need Help Because My Sonical Idea Is Probably Impossible Reply with quote  Mark this post and the followings unread

I want to compose melodic ambient or ambient like melodic music. My goal is to make it sound very emotional and sweet and how I want to reach that goal is not easy because my idea is a bit complex. So I ask if you people maybe know how its possible to get this complex goal done.

The sound of the melodic pad should get to the middle with each intenser step of finest detuning in slow motion browner sounding like some sweet honey pie, but to the inside from the external L/R stereo centering, so the more detuned it should get, the more it should follow this detuning from the outside stereo centering to the inside centering but leaving the rest of the sound layer untouched.

This way I could get a effect done that I go in my imagination since a long time, but its nothing I ever heard or could get done by pushing some buttons. Not sure if any engineer or sound programmer could get this done.

Its really complex but I think it should be possible somehow. I hope I explained it simple enough so you people can follow my idea, but thats the problem, because its nothing that you can describe in a simple way. Well but I need to write a bit more because this effect has more that I will explain.

I want that this effect gets, while its deforming its stereo centering trough finest clearest detuning, a sound flavour like very warm melting glas, like something thats morphing, but it should get more and more clear and expand its clearness character more and more away from the musical subject and the beat.

The beat should be a bit slower like downtempo, maybe about 75 bpm or 85 bpm or so and all this should have echo but just the echo of the melodic detuning should get a funky groovy L/R echo, not the not detuned melodic sound, including the centering of the complex modified stereo image, of the melodic part, so how can you get this done?

Just knowing that I have to use 2 versions at the same time, but take care that they don´t create phaser like effects, but thats just the little easy part I guess. Maybe my idea is a bit to complex. Not sure if William Orbit, Autechre, Massive Attack or Aphex Twin could get this done or understand me. If you people don´t understand, its fine.

Normaly I get all results in my imagination easy, but this time I want to grow with working on a larger more complex and more difficult scale of sound design, mixing, editing and music composition, but not sure if its possible.

Also I need to ask what sound resolution is the best idea? Because I figured out that detuning sounds more intense if its done as a fx on sound between 32 khz and 48 khz, around 96 khz detuning doesn´t sound anymore that rich, good and fine. But I wanted to keep a vintage like sound in the game, so should I maybe work with a double figure like resolution from 2 different resolutions that are fused into one? I mean on a mathematical scale its possible, but no idea if any soundcard or plugin supports a idea like this in enhanced realtime. Maybe I should wait till the technology is ready for my ideas. Maybe it will never be ready for my ideas.

While at the same time it should get transformed trough slowly filtered like behaviour into a expanding clear sound while the detuning sound morphing but trough detuning and this should expand more and more and feel like the white clearness of a very warm melting glas, but to the inside (@ middle centering). Its so complicated to find words, but that what I write comes closer to my imagination that I can get.

No idea what EQs I should use, because i tested already some plugins and the Sonnox EQ takes away to much of the existing coloring of untouched ranges, the waves EQs warm the sound to much within ranges that I want to leave untouched and FabFilters Pro Q EQ plugin brings to much richness into the dynamice of the stereo image so I also can´t use that because its also not good enough.

Sometimes I really wish my headphones wouldn´t sound so fantastic that they "see" everything within the sound behaviour. It was already impossible work to just describe what I want to do. Anyway. Maybe someone has some idea(s). Thanks.

So I did anyway weeks ago a EQ plugins analysis to expand awareness on sound behaviour to be able to know what to use for what reason. Epure has more effect with the same values. It sounds more intense. The lower range has more dynamics with the same values. It brings more air into everything. Sound quality is a bit above the Q10 from waves. The Q10 from waves makes the sound with the same value settings sound a bit more darker, a bit less louder, a bit detuned almost sounding. Something is missing here I would say.

The Sonnox EQ sounds almost like the fatness got filtered away from the sound, if you compare it with the Epure and the Q10. This result is nothing I ever expected because I thought the Sonnox EQ comes first, after this the Q10 and after this the Epure.

But after I produced a music piece as a test track and configurated all 3 EQs so they have the same settings, it makes me ask myself how there can be such a intense sonical difference between these amazing 3 EQ plugins. The Epure brings so much dynamics and fresh air into the sound, while the Q10 takes exactly this away and brings a more shining polished low range into the sound, but for lower ranges this sonical flavour should not work that nice. So the Q10 is nothing I would use for mastering or quality mixing.

The Q10 is more some EQ that has already its own flavour and just if you like it, you should use it, but not for configurating the sound. But that should not be a bad feedback on the Q10, so I ask myself if this sound maybe could be perfect for other situations. A piano as a example could get no better EQ I would say than the Q10, because the Q10 is made for certain things. Bass sounds, Piano, warmer reverbs, everything that needs warmer flavours or a bit more big sounding flavour, should get filtered with the Q10.

The Q10 has qualities that go into special directions that other EQs can´t work out that good. EQs all sound different and its so interesting to see whats their big plus and whats their big minus, but you have to figure out such things to get a better mixing and mastering engineer, even if you just work on music for fun as a hobby because you like working with sounds, samples and stuff like that.

The Epure sounds the best from all 3 EQ plugins, because the Sonnox EQ sounds to accurate and just to special in a cleaning the signal type of way so all kind of flavours get filtered away, it takes away a lot of the sound and the Epure is filtering the signal correctly as the only EQ plugin from all 3 EQ plugins because it takes away nothing and does not color the signal in any way, except that it brings fresh air into the sond and the lower range gets more punsh for some reason, but this punsh is so minimal that you can´t complain. Mostly thats even something people like, but they don´t know how to get this sonical flavour.

So the conclusion is that all 3EQs are amazing, but sound totally different and they all should just get used for special situations. The Sonnox EQ should never get used or lower ranges or to get some warmer sound, because it will take away more than it will bring into the sound that you desire. So you should use the Sonnox just for higher sound configurations. Keep in mind that it will take a lot of the sound flavour away in middle and lower ranges.

The Epure EQ is just sounding amazing and makes sense in all situations because it makes no trouble and does what you configurate on sonical levels. The Pro-Q from Fabfilter brings to much volume in at the same value setting but sounds almost identical like the Epure EQ, just the lower range has more volume if you use the Pro-Q so I would say the Epure is better because the Epure is a lot more objective, but the Pro-Q brings a bit more ambience into the sonical flavour.

Thats maybe something mixers like, but if you want absolutly the results that you configurated, this is nothing you desire, but of course its on minimal levels and because if this I would put the Epure EQ on first place, the Pro-Q on second place, the Q10 on 3th position and the Sonnox EQ on 4th position. I never expected any difference that intense and that the Epure would get the best results, but thats a important experience and you should know that I used the AKG 701 headphones for sonical analytical observation.

They notice every little bit on sonical levels. They are like a sonical microscope. More analytical than you like if you want to enjoy music or mixing, but thats what you need if you study sounds. I worked with 44,1 khz, 16 bit, stereo. The results are fascinating. I never expected such interesting results.
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