It sounds ok to me man. I think it may be just a tad over-hyped in the highs and the bass signal overall feels just a bit weak (this could be due to slight over compression, as compression tends to hit bass the hardest). The kick definitely doesn’t hit with much force at all; I would consider some side-chain compression going from kick—> bass, raise the overall level of the kick, use some parallel compression with a nice thwacky attack, and boost a few of the bass frequencies in the kick.
But yeah, overall it’s a nice track. Best of luck to you!
Make quality stuff
Ok, so a score I wrote for a client recently called for an electronic “chill” cue, but it was only about a minute long. So I decided to expand on it for entry into the dub step contest.
To be honest, I have no clue what constitutes “chill dubstep” but here’s to hoping this track loosely falls into that category.
I used a combination of Massive, Logic, Reactor, FM8 and Prism synths and used Battery for the percussive elements. I also used a couple (but only a couple) pre-made loops from Evolve. I’ll admit that this kind of stuff is way beyond my comfort zone, so it might sound like crap.https://soundcloud.com/auralaxiom/chiller-nights
It’s not their job to tell you why your track was rejected; that’s your job (and to be frank, it’s a pretty easy job in this particular case). Their job is to reject bad tracks and accept good ones.
It feels MIDI-ish and cartoony, but I think that’s kind of the point. Personally I think it was well done for what it is.
While I generally tend to agree with 99% of hard rejects, this is a little odd…
Hey all, so East West is having a demo competition and I figured I’d throw my hat in on this as I’d love to have Ghostwriter (even if you don’t win, you still get 50% off the Ghostwriter library—not too shabby since I was picking it up anyway). Also, I’ll be throwing it up on here regardless when the competition is over (you retain the rights to the piece).
I’ll admit that this was…challenging. The vast majority of Ghostwriter features non-traditional instruments, so it was tough to think of a composition that was complimented by the instruments. Your thoughts would be appreciated of course.
In any case, if you like it, please vote for it. This IS a popularity contest, so votes matter quite a bit. Help out a fellow Audiojungler and vote at the link below:http://facebook.wizehive.com/voting/view/ghostwriter/23025/2156991/0
DI into my Apollo and then a combination of Waves GTR, NI Guitar Rig, and other effects.
I recently posted about a purchase that I have made from Audiojungle and then found that the same song was being used by another author. Envato looked into this and agreed that the “author did use the same song or copied it” and took care of this. Now the author sent me threatening emails saying that I got him deleted from Envato and that he will basically see me in court unless I reinstate his account with Envato.
I then get a second email again warning me of things to come! I only did what I thought was right by reporting this to Envato to help protect buyers from fraud and this author claims I did him wrong when in fact I purchased the song from another author over 2 months ago.Any input on this matter would be helpful
HAHAHAHAHA! That guy sounds like a real clown. As someone who is quite familiar with the legal system, this guy’s “threats” are a complete joke.
If you want to shut him up, you can threaten to sue him for harassment and/or remind him that copyright violations can be expensive indeed if followed up on.
I would only ever compress in groups (brass, strings etc) for orchestral music.. and very lightly. Not that I’m an authority on it but the dynamics are what you’re trying to keep and make use of. Especially when we’re using samples, there shouldn’t really be anything blasting through the mix unexpectedly anyway
Yeah, in the mastering stage (I mostly do orchestral stuff nowadays) I will limit with a multi-band limiter (the waves L316—fantastic plugin for mastering) and set the threshold only as low as I need to make the loudest part hit 0db.
Now, for epic orchestral stuff, I tend to compress much more aggressively, much like I would a pop song (https://soundcloud.com/auralaxiom/uprising for reference). It’s still not over compressed, many “epic trailer” type cues are more brickish looking than a more traditional 90’s era John Williams type orchestral cue.
And yeah, I do a hair of group compression (brass, woodwinds, percussion, and strings) just to glue the sections together a hair. It’s subtle but it can really make a difference.