‘Pen blwydd hapus i ti Envato!’ as we’d say here in Wales.
Pronounced ‘pen-blue-ith hapis ee tee’ – There you go, most of you have just spoken your first sentence in Welsh
I actually really like them. I definitely had a ‘wtf?’ moment when i first saw them, but soon adjusted and we get a good hint of where Envato are taking things.
I’m probably one of the few authors however that’s glad they’ve ditched the paw colours for the newer numeric levelling system. It now prevents too much weight being put on paw colour alone, (especially from a buyer’s perspective) and kind of gets everyone on a level playing field in that respect.
Happy B’day Envato! And coincides nicely with my 1000th post too! Right, off to have fun with my new badges! Cheers!
Great news Sascha! Congratulations! Hope you get some good exposure from it and all of that good stuff.
I’m pretty certain featured author selection isn’t arbitrary by the way. Looks like you grabbed someone’s attention in the AudioJungle ‘staff room’ as it were!
Widening stereo image causes phase issues. It’s easy to over do. Be careful
+1 Yep, was going to say the same thing myself.
The end result may sound ‘bigger’ or wider at first glance when using these ‘stereo widening’ plugins (such as Waves S1), but is often a compounded audio illusion, possibly containing artefacts and phase cancellation issues when pushed too far – especially noticeable when played back in a mono environment, such as mobile devices or some radios or TVs.
Getting that big, wide sound can be achieved a number of ways, but is mostly arrived at via a combination of diligent track levelling, compression, EQ, instrument placement panning and reverberation during mixing, followed with additional subtle additions of compression and EQ during the mastering stage. All these elements used together in tandem could be argued to be the ‘correct’ way to get a bigger, wider sound, rather than slapping on a widener on the master buss, which doesn’t really address those processes.
One very popular production technique during mixing and mastering is mid/side compression and EQ, whereby lower frequencies such as bass, kicks, etc, can be tamed and focused to reside in mono or centre (mid), whilst higher frequencies within the track (such as hihats, synths, etc) can be gently ‘pushed’ outwards (side), giving the impression that they are further out in the mix, thus achieving an overall wider stereo image, without stumbling into the phase issues mentioned above.
It’s well worth looking into, and there’s a load of information out there on these techniques, especially on YouTube. For example, RecordingRevolution has a brief overview on this here.
EDIT: Basically everything Gareth said! (hadn’t realised he’d posted until now!)
I’ve figured out how YouTube’s search engine works but AJ’s sometimes doesn’t make sense (although there must be a perfect order in that chaos, and it’s yet to be figured out)
It’s called ‘human intervention’
In a library or results orientated scenario, this is often referred to as ‘curation’. I don’t want to put a dampener on things or ruin the mystery for everyone here, but this is exactly how the stock library business works, and the same principle even applies on YouTube and many other platforms.
Most files or assets are left to do their thing within a ‘grace period’, relying purely on meta tags and descriptions. Items that have gone on to show promise (be it through views to purchase ratios, or added to favourites, etc, within this grace period) will be manually picked out and promoted via whatever means – be it through continued exposure at the top of search results, via external promotions or more recently via ‘trending’ promotions, for example.
YouTube practice a similar thing with videos that have naturally accumulated good views and ‘watch time’ within a grace period (incidentally amount of comments, likes/dislikes, add to favourites, etc are now disregarded by YouTube). Their curation team will be on the lookout and add these videos to the front page, ‘mix’ playlists, newsletters, and so on, with the intention of benefitting financially from videos that have gone on to show positive results.
Simply an amazing achievement Lester, and in such a short period of time! Congratulations!
But I have to say, it doesn’t surprise me in the slightest! I regularly find myself listening to your tunes, thinking “how and the hell did he come up with that?!” or “man, that sounds sooo good!”. Both a fantastic producer AND songwriter. So on that note, let’s take a quick trip down memory lane, from when you first joined AJ!
My body is 37 and ¾, but luckily my mind is still stuck at about 20
Thats the big advantage being a musician. Keeps your little boy inside strong and prosper.and little girl of course
Exactly! Now, I just need to get my girlfriend to understand this fact, and all will be well.
Can I use several videos to make one longer final video out of them?
I suppose technically you could, but I’d be tempted not to do this. Remember that you’re demonstrating how your music can be used and synced alongside a single VideoHive project. Viewers and potential buyers may get confused with more than one VH project rolled into one, especially as you have to include links to the corresponding VH project. I’d say just create one track of music specifically for one VH video, and promote that.
For longer pieces of music (more suitable for film, for example), you can search for Creative Commons Attribution License video footage on Vimeo, and use that to sync your music to (check my post here on how to find that on Vimeo). This is what I’ve been doing myself on my own YouTube channel, and works pretty well.
Ableton Live 9 user here. Been using Live since it’s early days in 2004, after spending many years previously using hardware sequencers and workstations. Back then, the whole realtime ‘clip’ performance way of working was it’s biggest attraction, but these days I’m almost always working in it’s more traditional, linear ‘arrangement’ view.
Ironically, I’ve actually recently reintroduced hardware step sequencers alongside my DAW (the Elektron Analog Keys, TR-8/TB-3 and Korg Volcas) when producing more EDM orientated material, in an attempt to ‘break out of the box’, as it were. Coming up with loops and sequences on actual bits of outboard kit gets you thinking differently and possibly more creatively, and is definitely a welcome break from staring at a 2D, rinse and repeat DAW all day long.