Sound Quality feedback request

[georginasaint]

Thanks guys, and Heinsite, yes I seem to have an answer here. When posting things here I always find myself on a big learning curve and get to the next step because of it, so thanks to you all for your thoughts, ideas and knowledge. I don't find this kind of guidance on the east/west forums, have to say. I'm going to play with the compression and post the piece again for comparison. Georgie

[mojobone]

I was about to weigh in, but I see othentic is all over it. Specifically, multiband compression is often useful given that your orchestral mix already sounds very 'natural'. Running the entire mix through a single compressor might require readjusting the levels of the various instruments. Regarding Quicktime, try selecting tools->options->content->manage file types in the menu bar in the upper left corner of your browser. What you're looking for might also be under preferences in the options menu.

[georginasaint]

Roadrunner, hurrah! I got to listen to your track - very cool indeed - very interesting panning - your sounds bounce from one ear to the other a lot, but in a very non-irritating way, that's the best way I can describe it. Has this piece been forwarded/contracted? I have activated Quicktime, cos that's what it played on, but I can only listen to songs that have /download/ in the name, I can't listen to tracks with /song/ such as my own track at the top of this thread...????Mojobone, thank you for your ideas on this. Seems I can try two different things: compressing tracks individually, and compressing the whole thing and then maybe tweaking the indidiual tracks for volume.... will try this as soon as I get a moment. Cubase question for anyone: when I open my mixer, I have double the amount of tracks - one set (on the left) are active and unnamed, the other set (on the right) are set to 0 and carry the names of the tracks. Any idea what the inactive tracks are for - should i be working with those, or the ones that are already active? Any idea what I'm gabbling about?Thanks guys, Georgie

[mojobone]

You might want to post your Cubase question in the Recording and Technology sector.Multiband compression might be difficult for me to explain if you aren't familiar with how a crossover works, but I'm willing to try...

[georginasaint]

Hi guys, Right, I have added compression as best I can, but I'm going to start a new thread and post the link there.... Mojobone, I've spent a few days hunting through the Cubase manual (300-odd pages) for multiband compression and crossover, but can't find mention of either. I would have liked to know at least 10% what you are talking about before you launch into a detailed explanation, but no hope! So anyway, off to a new thread for Tempus Fugit, take 3...Georgie

[cameron]

Georgina,Have you considered some mastering software, like Izotope's Ozone? You can download a free trial from their web site http://www.izotope.com/products/audio/ozone/ to see if it helps. Personally I think it's just what your piece needs to make it sparkle, although you have to go easy as it's really easy to over do it. Just by going through their presets you should get an idea of what's possible, although most of the presets are way overdone for my taste.Cameron

[georginasaint]

Oh, Cameron, thanks for this info - I'll take a look/listen and definately interested in this....Georgie

[georginasaint]

And I just had a look - it says it's 64 bit - but I'm using less than that - does it matter?(I can just hear you all laughing at that... )Georgie

[davewalton]

Hi Georgina,One of my best high school friends was Georgeanne... we called her "George" of course. I think that 90% of this track is being pulled down somewhat by 10% of the track. It sounds *pretty good* but the melody line is using (or sounds like you're using) one articulation (like one track per instrument) and just playing that on your keyboard. I think that using a small variety of articulations for each melody line instrument, more expressive articulations for the sustain notes and shorter articulations for the quick/fast notes. A smattering of legato between those is fine but this sounds like all legato.The pizz strings at the beginning... pretty much all at the same velocity. Usually I don't do much except for "scribble" a jagged velocity line across a series of notes and that's enough to give a more realistic sound.This isn't miles away from reality or forwards... you're inches away I feel... just maybe not enough attention yet to "expression" details. This is a "forwardable" piece in a general sense. Taking care of some of the details might take away the one or two remaing reasons for a consciencious screener to lean toward "return" when he/she is on the fence. Good stuff. HTH,DavePS - Give your wind players a chance to breathe frequently (and not all at the same time). No potty breaks during the performance though...

[georginasaint]

Hey Dave, thanks for this very thoughtful and detailed post - I feel that you hit a home run with these thoughts. (Although I think the compression is another needed thing). You are right that I have one instrument per track and each is one articulation & I'm playing them with my keyboard. (I had to send the real musicians home after six weeks). I'm not too sure how to mix the articulations. If I put two in the same player, say a pizz with a legato, then I get the pizz at the beginning of each legato note, you know - how do you do it without that happening? Hope you will listen to the compressed version (thread called Tempus Fugit Compression Game) and see if you have anything to add. Interesting to note that through all of my learning curve with East/West/Cubase/mastering, my little old version of this piece (recorded on my old Korg Triton) has been picked up by the music library it was forwarded to... so .... should I stick to the Triton?!!! I should post that version up I spose. Anyway, you've given me another direction to think about and new aims for improvement... thank you enormously for that! Georgie (also often George!)