Quote:
Originally Posted by erol
I did not knew that.
But you are right. I wont bother you guys again.
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Not a question of bothering other people. As you can probably tell, by now, that people won't actually bother doing something for someone that isn't willing - and this is the important part - to do the right thing for himself!
No one holds anything against you and even this harsh words don't mean a thing, have near to no impact on your life. So no harm is taken, right?
The only thing we'd all be happy with, and you should to, is if you were to read MBTC comment and take his advise and get to it.
There's a thing though. Maybe you're focusing to much on getting the exact sound you listen to on some tracks you like. Couple of things: even if you were to have the exact same patch with you, on your Virus or another instrument, chances are it wouldn't sound the same as in those tracks. Because the patch is just the raw material, then you have to process it to make it fit inside a mix along with the other sounds, so forth and so on. So, to cut it short, if you obsess about getting the exact same sound, you're driving yourself into a dead alley. The only clever approach here is to understand the main elements of a sound, and how you can approach sound design in a way that will lead you to a pallete of similar sounds, or at least some starting points you can work with. Because music production - believe it or not - is much more then having genre specific sounds ready to fire up. No matter how good they may sound on their own, you still need to mix them together in context, you still have to arrange the parts and make those elements come together by adding fx, swooshes, so forth and so on. This holds true specially if you're using commercial drum sample packs. They're generaly super fat, and that usually means: that either a kick or a snare, sometimes even a cymbal, will fill the entire frequency spectrum, so as to impress people on a demo, but when you have to make them fit a song, you'll have to shave a lot of frequencies off. Even if you know for sure you're using the kick on your favourite track, may not be the best kick to use with the Bass you have, no? What this means is: even if you had access to the sounds on those very tracks on your examples, all of them, without the processing chain and the mixing apparatus and the arrangement, where do you think that would take you?