Little advice/idea needed here...

[BMG_SKULK]

I decided to put maybe 4 contrasting but still harmonious intertwining music
lines in this tune.

I've got 3 pretty much laid out and recorded here:

There will be:

1. Drum and Bass

2. A shifting dissonant pad from FL
(which I will fade slightly after it's been established)

3. The meat of the thing...Guitar theme, breaks, and soloing.

Now the other...


4. Somewhere in here I want a rapidly repeating either almost full
chromatic scale that's in an appropriate key, i.e. root or an
overtone that fits. I'll do this by ear...trust me...it'll work..

This is just part of the first section which will then lead to another.

**************************************
My question is, does anyone have any panning ideas to where I can
make all this fit and sit nicely? Each line having it's only little
section of the head that's listening?

I don't think I can do this with n-Track...not enough spectrum.
I've tried to do more than 2-3 lines before and they just don't
have the space in n-Track.

Is this a 16 bit card problem...software problem...lack of experience
on my part?*******************************



Rough...all live sketch here...very crudely leveled I know...

mp3 file...900 kb
Genesthia Sefirot mix experiment idea dilemma (http://f1velo-city.com/uploads/GENESTHIA_SEFIROT_3LN.mp3)

[bugman]

try to find something about melody and counterpoint

[BMG_SKULK]

try to find something about melody and counterpoint
You missed the entire point of my post dude.

This is a recording/engineering question, not a Bach seminar.

Thanks anyway...:rolleye:

Still need help here.

[Sage]

Well, I know that in Cool Edit, there is a tool called a frequency splitter -- you can set each range, up to 15(? I think), and what each floor and ceiling is.

This would give you X tracks of whatever frequency you cut out. So for example you'll have say 0-1000Hz on track 1, and then 10-15kHz on track 2, etc, etc, etc.

So you could take that, and since it it A> repeating, and B> a chromatic scale, you should be able to pull out "sets" of notes based on their frequency (kinda like a parametric equalizer -- which come to think of it, might help you here.).

So now you have X tracks, each with a chunk of the scale that is going to repeat. Pan this as you will (don't forget stuff like a doppler filter, which can give it that rotating effect, phase and flange as well) and then you can bounce that down to a single track, or just mix it right down and build from that.

I think the problem might be N-track, it's a good little program, but it can be limiting when you hit a certain point -- you may have just hit your ceiling with N-track.

PLEASE NOTE -- my stanky boss is in the room, so I couldn't listen, but I wanted to post, cause it was looking like you were getting nowhere with your request and that sucks. Let me know if I was way off base, and I'll try to listen later.

[BMG_SKULK]

Hey Sage. :)

I think you may have hit the proverbial nail on the head both on the n-Track analogy, and also given me the right idea as far as maybe panning that repeating chromatic scale in kind of a dizzying, rotating/Leslie, panning effect.

I don't wanna overdo it and have it going on as front and center as the main melody, but do want it present, and brought to the fore when appropriate.

Hmm....I think that might work. Only way to know for sure is to try it so...

If it doesn't work, I'll try another mixing program like Soundforge, which I'll have to use the trial version of. It does have a kind of special selection of spatial/frequency/spectrum seperators, but that can be sometimes hard to judge. They sound good on one stereo...then like a reverb tank on another.

Thanks for taking the time to reply with some good thoughts in any event.

Well, I know that in Cool Edit, there is a tool called a frequency splitter -- you can set each range, up to 15(? I think), and what each floor and ceiling is.

This would give you X tracks of whatever frequency you cut out. So for example you'll have say 0-1000Hz on track 1, and then 10-15kHz on track 2, etc, etc, etc.

So you could take that, and since it it A> repeating, and B> a chromatic scale, you should be able to pull out "sets" of notes based on their frequency (kinda like a parametric equalizer -- which come to think of it, might help you here.).

So now you have X tracks, each with a chunk of the scale that is going to repeat. Pan this as you will (don't forget stuff like a doppler filter, which can give it that rotating effect, phase and flange as well) and then you can bounce that down to a single track, or just mix it right down and build from that.

I think the problem might be N-track, it's a good little program, but it can be limiting when you hit a certain point -- you may have just hit your ceiling with N-track.

PLEASE NOTE -- my stanky boss is in the room, so I couldn't listen, but I wanted to post, cause it was looking like you were getting nowhere with your request and that sucks. Let me know if I was way off base, and I'll try to listen later.

[BMG_SKULK]

BTW...I had the wrong file up there in the first post.

It was only 31 seconds long, whereas the one I meant to put up is a minute +.

Just in case you listened and now might want to listen again.

This is the correct version and should be 1 minute in length and about 942 kb.

Genesthai Sefirot multi line question file (http://f1velo-city.com/uploads/GENESTHIA_SEFIROT.mp3)

[Sage]

You can also try doing the scale in FL -- just send it to Piano Roll, and it will give you a keyboard and beat bar/count -- use it like a graph of pitch over time.......and get your scale that way.....it would fix (as it make steady) the patten, and you could dump it into Cool Edit and loop it with a beat count so that you can drop out at an exact note, but not be bound to a manual count -- does that make sense? -- if you just tap your foot, you'll vary the tempo of the scale when you play, no matter how hard you try -- but with the FL, you would have the pefect scale on perfect count, and if you wanted to break it off at an odd count, like a 3 or something, you can count 5 and come back to the same tempo.



Argh. this is like dancing about architecture.

Consider the chromatic scale like your click track -- you'll be able to sync cues and breaks a lot easier.

I know that you want it in the background and to fade it in and out where fitting - so start with that, and build your sound around that -- this way, when you want it in the front of the mix, it's doesn't sound to dissonant because it's been built around that sound.

I did have a quick listen -- which piece is it you want to process. I heard 4 parts

1.the chunky rythym
2.the lead guitar/scale
3.the ambient synth at the beginning,
4.the vocal chorus that peeks through.

[BMG_SKULK]

You can also try doing the scale in FL -- just send it to Piano Roll, and it will give you a keyboard and beat bar/count -- use it like a graph of pitch over time.......and get your scale that way.....it would fix (as it make steady) the patten, and you could dump it into Cool Edit and loop it with a beat count so that you can drop out at an exact note, but not be bound to a manual count -- does that make sense? -- if you just tap your foot, you'll vary the tempo of the scale when you play, no matter how hard you try -- but with the FL, you would have the pefect scale on perfect count, and if you wanted to break it off at an odd count, like a 3 or something, you can count 5 and come back to the same tempo.



Argh. this is like dancing about architecture.

Consider the chromatic scale like your click track -- you'll be able to sync cues and breaks a lot easier.

I know that you want it in the background and to fade it in and out where fitting - so start with that, and build your sound around that -- this way, when you want it in the front of the mix, it's doesn't sound to dissonant because it's been built around that sound.

I did have a quick listen -- which piece is it you want to process. I heard 4 parts

1.the chunky rythym
2.the lead guitar/scale
3.the ambient synth at the beginning,
4.the vocal chorus that peeks through.

It's the chromatic that is going to ne the problem, because:

1. It will be done on Guitar. I refuse to do anything acrobatic or technical, playing wise, simply by clicking a button in FL. Call it wannabe virtuoso pride or whatever, but that's the way it has to be.

2, Because it's on guitar, it will be in the same frequency as the lead and melody parts. Like I've always said in the past in many posts, the RP200 has about 1 maybe 2 tones that I actually consider a serious lead tone.

Doing the chromatic in say an acoustic/clean tone of course would not work.

I'm working on it, and as it progresses, I'll post here and more than welcome anymore feedback from you.

"Dancing about architecture"? :lol: