Final Q and A
Seamless perhaps are there guidelines for types of synthesis in relation to the moves that they evoke but really, you know, like mood, mood is very much a I mean, okay, if you really want to get specific that's probably also attracted to this, so this is because, again, it's attracted so this is sort of involved every times of business at the end of day, if you're going to do mixing with the president the way that that's subtracted, and this is so that's that's like that's that's a good way of making making moves, that kind of thing that's the kind of music you're writing, like what kind of station is it's very, very involved process trying to evoke a mood with things you could use any process that really kind of a rival any mood? So tim wants to know when you did the vocal recent effect of sometimes could you have created that with bo coding? Yeah, probably, but I didn't actually do that that was done by nuclear on one of the guys at image line when they contract, did you go to make t...
hat track that he hey, uh, I felt that it required a little bit more sort of like local spice to he's, right? Like I personally, I'm not really into that kind of vocal, choppy stuff like that skrillex e high pitched level kind of thing I know that that's apparently a big deal now but like I don't I do it I don't really like vocals in the first place but like I knew that this track do you tow have uncles and I did respect he left what her work was the people that I liked so it was all fine but I did not do that that particular dip into your business um but yes, you could do kind of someone thing with vocal on it because if you look at kind of how it worked with armor it was you could just turn have turned to scale off all the way and that would have been basically both holdings with five hundred sixteen bands so it's a similar process have you heard yamaha's vocal oid technology porter robinson used it in sad robot and it sounds like what many people are trying to achieve with bo coders oh my god sat robot that's funny I didn't know that was vocal lloyd I knew about vocally book has been around for a very long time um it was originally at japanese only library of sort of that silly synthesized locals but like sampled vocal bubbles and um they recently made some new ones they've been taking english version and again that universities like a french version there are a whole bunch of different languages and um like having mascots and things kind of oh it's weird software but I've never used it but it is pretty kind of up there um you could also like auto tune like a female voice up that high you would get a similar result and um like uh glad gladys and portal was not a device that was actually someone new sounds like that, but then they kind of alternate the sound a lot more mechanical it was really vote today. I did that. Yeah. Okay. Now the steel monitor question from eighth son how do you like mixing on those sound on sounds? How do you like mixing those sounds on the yamaha hs eighties next to you compared to your own care case, I'm currently looking for studio monitors to mix drums and sound design on and it's come down to those two so he's choosing between those two? Well, um, it's weird because they're like next to me like that in front of me and so it's not like I can't directly compare them, but I haven't mayday like colossal mistakes that that that I would normally like. That dude is because of mixing differences is I don't think I did the public a watch the rebroadcast later to see if I really did or not, but I'm personally a fan of really understanding referencing when you're looking at when you're trying to make anything on anything if, like, is that there's a certain threshold level of quality with speakers from, like, the n s tens upward that like, if you know how to speakers are going to behave and you know how stuff that you're trying to make actually sounds, you should be able to mix it into something that sounds correct. And when we lie with me by this, like when I went into metal stuff there's, a song that I like about by a band called revocation that, well, this I'm called no funeral that's what it's called and just the way that how full of was how like loud the levels were, how that everything else was in the dramas, the clarity, everything about that song was just such a perfect reference, so that if I I'm going to mix a song, I'm going to mix with sound like that and not sound better than that. But the sound like that and it's important, that you don't try to make things sound better because the whole point is, is that like you're you're monitoring, the solutions are probably not going perfect because perfect is expensive and way beyond even someone like my budget and something needs budget and so if you have a reference and you could listen to the reference of how it sounds under speakers, even if it doesn't sound quite right, you know it's, right? You know, what's good, you know, that song is good, so that means that you need tio and here to that as being the maximum the quality don't try to be different from it try to be as close to that as possible, and then, no matter how weird, wrong or your environment is, you should be able to kind of come back from that and make something that's sort of on point. Awesome. Tony has a question, and this is from the last segment, but seamless are you kind of working out what you think the movement of the filter is in the drawing it into the clip after? Would it be possible to record that automation instead? Yeah, you could before the automation that's something? Do you not do that? Everyone know, I don't like when I do, if you were around yesterday when I was doing, then there, oh, stop with a big mess with all the wandering eye, like I sort of know what kind of movement I want, but I'm not going to know specifically what kind of what I want and I do have I'm trying to copy some stuff here, but even if the movement isn't identical, are still know if it's the kind of sound that would be identical if I would try and it was it's like a time saver thing, like, of all the things that I want to focus on, I don't want to focus too hard. I tried very hard to get the right notes. Well, I'm doing these things. I don't spend a lot of time doing that, and b I don't spend a lot time trying to get the exact like, filter movement unless it's like a rhythm track has just didn't get it internet it did it did it for a minute, then I'll do that it's easy, but I don't really try to focus on that stuff because if the sound that I'm going to create is correct enough, it should be very clearly that very clear that if I did, trying to go hard on getting the identical movement and whatever that it would work. And if it's if it's what if it's a sound that was the reason doesn't sound right since that kind of movement, then maybe I'll try and get to really, like, focus on it, like, you know, a cake judgmental about that kick drum, usually the electronic type. It is just a sign wave that goes down. We'll be hard with some stuff going on around it it's kind of weird if I was like, oh, I'll just put a sign wave about like ten k hurts, and I just know that if I had made the movement for kicking, that would sound right like that's the kind of example where I would need toe have the specific movement on in order for it to even side even close to correct have cats out for this kind of stuff that so much awesome. Have you played around with nfl studio mobile and won every thoughts on it? I haven't played around with it, but I have been kind of closely watching his development. I'm an athlete history, so I have been there forums they show off new stuff like that all time, and it is a weird it's, a bit weird looking, and this is because, you know, I look at I don't really like the fact that I came out to seattle from massachusetts to do this is like the most traveling I've ever done ever. I don't really go out doing do stuff for being in places where I need to be mobile in producing and like, that's, not a zoo even like if I am traveling I usually I'm doing something the whole time so even being here and then spending half a day later just in a hotel waiting for the next day for what I'm doing stuff which where it would have been totally cool if I remember to bring headphones so I couldn't use my laptop but actually do stuff, but I didn't and so this kind of illuminates for me where someone might have a value for something like nfl mobile the whole point of it is that like you can do stuff with it, but the new supposed to just kind of important ofl later because f l has some of the plug is that our nfl mobile like the many sense is nfl bubble um some of the effects are in there as well, but you can you can make it anything important. The project file sounds like you like, you know you're going somewhere you get like a beat in your mind you could put on the beat and save it and then you can go get a later kind of thing I wouldn't ever really think that it is designed to be something that you could make a song from beginning to end and they call it a finished thing even though it does have local recording and you pull again about your friend thing into it and you can you can't but like I don't think you should or even that is designed to be as far as its ecosystem. So it's more of a sketch you get your ideas down, dump him in the nfl later when you get to steal exactly and there's also this other kind of f l called groove for groove, it was some project that guy who did sour wasn't working out for microsoft for the surface remember what happened with that pressure released but it's comical were a weirdly mohr full flight diversion of nfl mobile, but in a different way, I never understood that this issue by that, but however there were company in much line, but they do such a good things so they could do whatever they want and I will still get their back awesome. I've been dying to know the more correct technique to tuning the bass drum to a sign away for a big, punchy beat has done a dead mouse album random album title could you show any ways of doing that? That's just matching up figure it is I mean, you could do it by ear, but if you've got the basic you saying cool it's forty four hearts than like get your cake, look at the q and see where it ends and make sure it and they're forty four hearts really all over to that pitch it up it down if you work there on that not being familiar with citrus I'd love to know how to recreate the pander present but what spanner have to imagine them at the pre set yeah at some panning precept handing preset is there a preset called panic begins interest or pan er p e n n e r I love that is so um you too did you give some advice on mixing um in processing do you listen to your mixes in mono to avoid face cancellation um I don't do that but I do kind of prepare for that anyway like I mano the low end in maximum because you could do that in accidents yeah um there's there's a monastery a doo doo doo doo doo there's a bunch of this bunch ofthings nfl for this kind of thing what they're what these knobs are like this not right here is the same now about all three these bands these businesses different out for all of them and this is a mid side fader on this side this is also a side decides on the way mitt so the low end I just mano it up and then I spread it and I spread it and then like that's how I have a control on my state image and for most of my mixes I usually have buses on things that got max was on the drums and then the city buses separate sub december, that kind of thing so then they all have this on the em back and sort of control what the stereo separation is supposed to be for the most part um I'm not worried about things like phase canceling and in a big way and especially it there if they're like important stuff I could get kicking this narrow like the usually motto anyway so that this is how I see that one maybe one final question f l twelve comes out this year you've been using the beta and you must think it's great smiley face what are a couple of your favorite new features? What sort of new things do you think we'll be able to dio in a few more federations what's on the horizon for f all thirteen or fifteen and beyond? Thanks so much super courts uh please do another question and a um let's see my favorite thing that the full on everything about about twelve is the directorial danger of the and also how like visually flexible the mixer is now because it could be all the other main aspects about foul at the playlist that the piano roll even the browser could be like change and move its eyes, that kind of thing but the mixture has always been very much stuck the what the where it is, it has like the wide view kind of thing but that's really all he's got nfl twelve mixer has like sixteen different kinds of size views and you can change all of them manually and moving around and even has like a like arm or pro look that people who use on the docks and we'll enjoy where you could see the effects in the individual mix in the in the in the individual like actual strip and not just in the side you could get rid of the side we don't need to see the big list it's so customizable it's insane and like I have multiple monitors, but I've never really seen the use of having put the mixture of like I don't get empty I conceived my windows background because it's like I can't make it any bigger versus I can now have like the entire thing all one side I might even use the color coding I might even I might even utilize some of the organizational things that exists that I never do, but because just so weird but it's just really good, really good and the other thing that I'm really excited about for about twelve is the changes they made to the keyboard controller or was it the envelope control? It was a sample of comptroller this is the nfl called angelo controller and what this is is it's a generator that has in it this little lion that's on envelope like you see in science teachers or harmer that could be applied to any parameter it shows up as an internal controller for anything tio different particulars, that kind of thing theres are, well, a good, um and the difference between this one and the f l twelve one is that the nfl twelve one has an x y controller. That is exactly like how the x y controller works inside harmer and side citrus, which is super amazing because that means that we could have smart, not control if you don't know what smart I have control is smart knob is a thing inside decade dance that is essentially an x's a knob, but you can assign any prior to it, and you can change the transfer curve of that and you would any normal at header like inside citrus if I wanted to, you know, make make him make a modulation on bond axis is the one the one linking the mondex back into different tensions. I can use a double curve and that kind of I could even do ultimate weirdness where it by moving them the thing up and down it's going and we're directions kind of thing, and with the keyboard controller, I can actually do that for any parameter, because if doing this kind of thing on automation for any normal perimeter now nfl eleven would mean using the freaking, controlling a window and trying to enter some former. That would get this line to do something and that's stupidly hard. And, uh, that means that I could. I could have. I could actually do more interesting, like q modulation, for example, because I could have a move and then change direction and it's sort of part of the of the the modulation and have to move around different ways. They actually control unique changes to things. I could do it for anything, not just stuff inside, citrus or harbor or low filled there. Which kind of does it, too, and so I'm pump for that, because it's also because you could put it, you just put it entire patter and does have a control stuff. Uh, so good. I'm just very proud about that.