Видео

Joo sivutoimituottaja voisin olla. Päätoimea tuskin siitä saa. Tai no tienaahan David Guetta toki, mutta se tekeekin mainstreamia, ja ns lottovoittajia on aina hirmu vähän (ja ei riipu pelkästä taidosta).

@@karoliinasalminen Näinhän se toki on. Mut hemmetin kiva tätä äänimaailmaa on kyllä kuunnella.

Äänimaailmaa on aikalailla hiottu tässä - sekä spatiaalisesti että bassopäätä. UB-XA kuulostaa tässä vieläpä paksummalta kuin sen soundi alunperin on, koska saturoin sen vahingossa kääntämällä gainia äänikortin preamppiin. Se oli onnistunut vahinko, pitää käyttää temppuna jatkossakin. Aito analogisaturaatio analogisynan perässä, ei plugin.

Can you elaborate what you are wishing on the sub bass? More? This song indeed hass less sub bass than my other songs and the sub bass plays different pattern than the bass transient notes on this song intentionally. How would you propose changing it? I am trying to maximise sub bass while keeping it maximally tight and in this song it is tight but not as maximal as I wanted it to be. Mycelium Drive is more like I want it to be (it has much more sub bass than this). What I am trying to do is to play lower notes than other producers without losing the tightness. I have put generally high pass to 25 Hz which is about as low as a ELF-type Paraflex sub plays in festivals (well common is 28 Hz tune but there is a 25 Hz tune ELF too with 2 x 21").

Even in sound systems that can reproduce those low frequencies, they don't sound musical. Try to not to go under E1 (41 hz) because lower than that the frequencies consume too much energy on the master but they sound less louder because they are not hearable anymore. (It could be debatable to go down until D1 37hz) but generally speaking it won't sound warm because you don't hear it, it's only physical vibration with no sound. This track liftervator sounds more balanced than the mycelium one. The kick is on its place, but is the rolling bassline the one that sounds empty. I'm not sure the causes, but i guess that it's one of these two chances: - The rolling subbass doesn't have a proper sidechain to the kick, so you keep it in a lower volume so it doesn't mess with the kick sub frequencies. -Or, you have placed the notes of the rolling subbass in a pitch too low, so they are there in a physical sense, but they are not properly playable. In which case they are still consuming headroom for the master, causing that your whole master doesn't sounds too loud as it could be if you remove that wasted energy on the sub area. Anyways I'm always happy to help so you can write me. greetings and keep it up!

@@raptor.1 False. 30 Hz region is very important. People have poor sound systems, but it is not meant to those. I am working very hard in my mixes to make 27-40 Hz region to work. Sounds like your sub is not adequate.

@@karoliinasalminen No reason to act defensive. 30 hz works like a humming zone for the subs because the lenght of the wave in let's say a E1, ocuppies that area too. But if you try to work with a C1 note per example, 33hz, it won't work. You are just trying to reinvent the wheel. Bye.

@@raptor.1 I am just in the opinion that most music has high pass way too high and is unlistenable with my system. Irritating that sub is silent and nothing feelable is present in the track. Been saying sound engineers who recommend high high pass should retire already. For example Jean-Michel Jarre's albums are very disappointing just for this reason and one of the reasons I got into psytrance was that it had bass. Not as deep feelable frequencies than I prefer, but much lower than mainstream. And this is why people are building the paraflex boxes. If everyone still used Turbosound that makes every kick sound the same no matter how many countless hours spent to designing and tuning the kick, it would make no difference. But I create on purpose experiences which are also physical and not only audible. I am not the best at it yet, but it is the goal and it is what I want. Would also remix/cover Jarre's music to psytrance versions with so heavy 27 Hz content that listeners head will vibrate, if it would not be in vain because of copyright issues. So I keep making my music to world to have music that is not bass-deficient like majority of music so disappointingly is despite people nowadays have better access to methods of hearing those frequencies due to popularity of earphones like Airpods Pro which according to Audiosciencereview measurements, reproduce all the way down to 20 Hz. Audiophile quality recording, even if it is electronic, or especially when it is electronic, in my opinion, should not be bass deficient. And mixing should be done or at least tested with proper audiophile quality system that can play cleanly and loudly below 20 Hz. My music is tested with this 17 Hz - 20 kHz capability along with 7.2 surround. All my recent music is surround compatible and spatial surround pans are intentional and meant to be listened in Dolby Surround, if available. Will start producing Atmos once I get enough good music for publishing in Apple Music. Then it gives +10 dB more bandwidth to the deep bass which I would be eager to learn to utilise.

Obviously.

@@karoliinasalminen 😁 i like it. How do you produce it?

@@crono331 With DAW (currently Apple Logic Pro X, but considering switching to Bitwig) + Behringer analog synths (like in this one the new Behringer UB-XA and Behringer RD-9 drum machine) and then a set of plugins (such as Valhalla Delay, Soundparticles Energy Panner, Ozone, Serum, etc.). The lead that plays the melody uses the aftertouch feature of the UB-XA to make it sound like it sounds like.

@@karoliinasalminen i also use logic pro and some of those plugins for some beats i use on my videos (not on this platform). on a muuuuuuch lower skill level. thanks for the answer awesome music.

It changed in 2007 according to public info

Workaround: grade it and output as 4K Prores HQ. Delete the raw-masters. This way you get benefits of 4K raw without needing to store the insanely big 8K raw masters. It is of course bad advice to delete masters in principle, but sometimes has to be done. I have delete my raw masters for this video for example.

@@karoliinasalminen wow!!! Ain't nobody got time for dat! Lol.

I could have possibly done a better work in color grading to match them more accurately, and better grading skill could help, but it is much easier to get colors right with the raw. Editing was actually easier on raw than h265. I have now also tested on 8K timeline, and the raw is the winner still. But my feeling has been, and still is, that Clog any version does not match raw. Raw always wins. Clog3 from Canon is better though than Slog2/3 from Sony A7III, because the Sony is 8 bit and that makes the Slog to fall apart much sooner than the 10 bit Clog. But raw does not fall apart at all when adjusting white balance, shadows/highlights, contrast, saturation etc.

But wow at the videos of where you live... that trip to Greenland from Iceland :O

Ja eg er helt enig

Yes its amazing

+Bora SAO Very minimal rolling shutter to my eye.

+Karoliina Salminen thanks, in HD OR 4k minimal ?

+Bora SAO 4K, HD is crap (looks like Canon DSLR-video), so I never use the HD-mode. I have no idea of the rolling shutter on HD mode. My all comments are for 4K mode as it is the only mode I ever use with this camera.

+ThisGuy4557 I did put it to the camera like any other picture style is put to the camera, the camera comes with software called EOS Utility. There is a function for uploading picture styles on the camera. I did not desaturate neutral, this is Technicolor Cinestyle pf2 uploaded to the camera.

+Karoliina Salminen ok I just put it on my 1dx..got some reason I thought it needed to be upgraded like magic lantern lol..I have cine style on my 6D and Mark iii but it's been forever since I installed them...sorry for the confusion.

+Artūrs Rudavs The Cinestyle discards 0-16 values and discards some of the dynamic range by not utilizing the whole 0-255. A modified CInestyle would be the best but Technicolor has locked the picture profile for further editing. I have tried Marvel Cine also and it is possible to shoot flat and expose from 0-255 values with the histogram unlike with Cinestyle. Cinestyle was designed for h264 cameras that could not record the first 0-16 values from sensor and escaped clipping blacks that way, but in case of 1DX2 that is obsolete thinking, and a better profile than Cinestyle would be good to have.