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Atmospherics can be anything! Learn how to use an audio editor. Got a few dvds laying around the house? Sample atmospherics, pitch them down, reverse them, edit them and layer them together with tonal sounds from plugins (with a slow attack envelope)! A main thing to keep in mind if you don't want your track to be a mess is to instead of just dousing everything in reverb - find a sound that contains a proper enviromental feel and layer it in!

reso wrote:


This is the Otacon arrange page, dunno how much help it'll be, just shows how many track i'm using. Tooooo many!

Would you mind posting a screenshot of your mixer window too ?

straight from the Resonator himself

completely forgot about this thread! thanks reso for posting that screenshot. that is a RIDICULOUS amount of channels you got going on there...

if you're still about.. where do you get your vocal samples from? such as the ones floating about at the end of otacon... they's beautiful they is.

Lol at VEC, and notice the absynth in there.

crytek wrote:

nitz wrote:

lowpass wrote:lots of different parts = interest

lots of different parts = cluttered mix

use of careful eq can result in a more coherent mix,

try it

"lots of different parts = cluttered mix"

Not if you Eq them right! it can get quite hard tho..

Didn't he just say that?
See Bold.

major zero wrote:completely forgot about this thread! thanks reso for posting that screenshot. that is a RIDICULOUS amount of channels you got going on there...

if you're still about.. where do you get your vocal samples from? such as the ones floating about at the end of otacon... they's beautiful they is.

Honestly can't remember, i think they're off a crazy old vinyl a friend and I sampled a looong time ago. Other than that just nab bits from accapellas or use voice samples in esx24 etc.

nowaysj wrote:Lol at VEC

Why?

big up reso, its cool to be able to talk shop with someone as well respected as yourself. it would be nice to have a computer that could handle 80 tracks. mine craps out around 30 or so

as far as atmospherics most of the stuff mentioned so far fits in with what i do. i usually will go for my synths during breakdowns, just find a couple presets that sound etherial and start tweaking them. then i like to process it with reverb and delay to give it space and depth. maybe automate reverb time to start shorter and end longer. theres more to it but thats usually the starting point.

planning on getting a field recorder to start creating weird sounds from my surroundings, think that will be really cool for breakdowns as well.

serox wrote:

reso wrote:the pics i posted are the Otacon arrange.
I think there's about 16 or 17 different bass parts. Some are still VST, some i rendered to audio to tweak a little bit more.

Wow, that many eh? I guess this is quite normal for conventional Dubstep.

Thanks for the info.

i wouldnt really quite class reso as conventional dubstep tbh, quite a lot deeper and more intricate than your standard dancefloor affair

Just wanted to say big ups for the tips and arrange window post Reso, that has actually been pretty inspirational for me, seeing how a big tune is put together in it's entirety. Huge tunes man.

+1 again for DSF, wicked community vibes agwan

deadly habit wrote: vangelis bladerunner score, brian eno and company, lustmord etc

This.

Just listen to one album by Brian Eno an you'll want to make ambient for the rest of your life hahaha.

nitz wrote:

lowpass wrote:lots of different parts = interest

lots of different parts = cluttered mix

use of careful eq can result in a more coherent mix,

try it

"lots of different parts = cluttered mix"

Not if you Eq them right! it can get quite hard tho..

Another thing you need to consider is where the different layers of your sounds actually sit before even EQing, for example... If you're making more than one thing in the same key range you're already going to have issues... But not always bad issues, people are always talking about giving your sounds space in the frequency spectrum but fail to mention that if you're layer two sounds in the same frequency area they may compliment each other to give a fatter perceived sound. Parts of one sound might disappear and merge into the other but sometimes it can sound nice... You just need to remember that all of that energy in one area is going to make the overall amplitude louder meaning that you'll have to be a bit more strict against adding other things into that part of the track and creating clutter. If you do manage to make 2 sounds in the same frequency area the same then turn them down (whilst balancing them out, which you want to hear more of) until they're both the same amplitude as one on its own would be.

But you can have bad issues with two sounds hogging the same frequency area all the same, so it's worth thinking 'well I want this sound in the first octave of my keyboard, then this sound in next octave up and this sound in a mid-high octave' etc. It will then be easier to EQ them all out.

And yeh Reso said about panning, it's important to remember that you'll be placing things horizontally (dynamics), vertically (panning) and depth/distance (reverb) to put them in a certain virtual place and also that their position will also effect their frequency. As a sound gets further away you're going to hear less of its high frequency content so remember that when you're mixing.

Closer sounds will have higher frequency content and less reverb and will be portrayed by being louder in a mix, sounds further away with have the opposite settings.

So if you master placement in a mix, atmospheres should be a breeze for you!

^^wow, very concise description. sound placement is def key. and what youre saying about competing sounds amplitude is very important when mixing as well so certain frequency ranges wont be overpowering or uneven through out the track. like my constant battle between my kiks and my sub freqs. big up wirez.

the some of the best atmospherics ive heard in a song is edward oberon's mr smith, youtube it its pretty good.

all about using sends FX

Thanks for your screenshot & replies here Reso, anything that helps explain the method behind the madness! big ups!

jsills wrote:^^wow, very concise description. sound placement is def key. and what youre saying about competing sounds amplitude is very important when mixing as well so certain frequency ranges wont be overpowering or uneven through out the track. like my constant battle between my kiks and my sub freqs. big up wirez.

Thanks bro DSF needs a Kudos function

reso wrote:
Honestly can't remember, i think they're off a crazy old vinyl a friend and I sampled a looong time ago. Other than that just nab bits from accapellas or use voice samples in esx24 etc.

Dear Jim'll Fix it,

I thought that the first voice sample about a minute into otacon was from Street fighter 4 when Ken pulls off his ultra move, but I'm just after playing SF4 and fuckin folk up with Ken's ultra combo and it's not what you sampled! So please Mr Savile, can you tell me what the sample is from?!

Thanks,

Wibble Wobble Jnr.

2p wrote:

Dear Jim'll Fix it,

I thought that the first voice sample about a minute into otacon was from Street fighter 4 when Ken pulls off his ultra move, but I'm just after playing SF4 and fuckin folk up with Ken's ultra combo and it's not what you sampled! So please Mr Savile, can you tell me what the sample is from?!

Thanks,

Wibble Wobble Jnr.

Now Then Now Then, Jewelery Jewelery.

Have a look at this little Wibble lad, about 2mins49secs in.

reso wrote:

2p wrote:

Dear Jim'll Fix it,

I thought that the first voice sample about a minute into otacon was from Street fighter 4 when Ken pulls off his ultra move, but I'm just after playing SF4 and fuckin folk up with Ken's ultra combo and it's not what you sampled! So please Mr Savile, can you tell me what the sample is from?!

Thanks,

Wibble Wobble Jnr.

Now Then Now Then, Jewelery Jewelery.

Have a look at this little Wibble lad, about 2mins49secs in.

Wow, it's like people with Pokemon powers