Lazy composers? I call bullshit on that one. Jmobley wrote:The hate is pretty shocking. Probably because he's not spending days tweaking on soft and hardware synths. I know one thing, he writes about three times faster than I do. :Wumpscut: come to mind, Canibal Anthems got boring really quick because of that IMO. All that said, modern EBM Industrial is seriously guilty of using too many canned presets. It kind of becomes one of those grey areas where you have to ask if it's important or not. He plays bass on most of his tracks, and is pretty adept at Live, mangles audio etc.ĭo I think he would be better served by coming up with his own presets and learning more synthesis techniques? yes, but it really wouldn't change things that much. but the average listener hears his great sense of space and arrangement. For me and you maybe we hear various presets etc. He's a classically trained pianist but he's not much of a synth programmer, so he heavily gravitates towards good libraries. My roommate plays goth industrial, 90bpm stuff, heavily processed with a 4AD type sound. Like most things though there's room for more than a black and white depiction of the situation. A horn is not a horn is not a horn.įor the amateur I think you are just going to have to check-in any integrity issue you may have as soon as you start the track.
#HEAVYOCITY EVOLVE FORUM PRO#
Even NI’s Session Horns Pro is only good if you want to sound like Chicago. Just watching the demo you’ll quickly realize what a major part of soundtrack music that sound is and you can’t just pull it off with some arbitrary horn sample or emulator. As an example I just discovered the CineBrass Pro library.
#HEAVYOCITY EVOLVE FORUM HOW TO#
It’s like if you want everything to gel great then you need to use nothing but Heavocity libraries.īut as somebody who is interested in dabbling in soundtrack type music for my own entertainment I don’t see how to do it without heavy usage of libraries that are meant for that type thing. To me they sound too tell-tale or the sounds are so far removed from what I’m working on that I would have to mix every other track differently around the Heavyocity sound. Even the single-hits kits are so fully realized and polished that it's damn near impossible to "sculpt" them into anything useful in your own material. The stuff is just way too pre-arranged, polished, and finished to be helpful in an actual creative context. Mholloway wrote:I bought Damage years ago because it seemed a perfect fit for my main genre interest (industrial) I've used it about 2 or 3 times, and tried to use it about 30 or 40 times. Just my view, if somebody can come up with awesome original results with this material rather than just canned playback of Heavyocity's (admittedly great sounding) work, I'd love to hear it. I'm sure many will disagree with me, -shrug. I bought Damage years ago because it seemed a perfect fit for my main genre interest (industrial) I've used it about 2 or 3 times, and tried to use it about 30 or 40 times. let's just say I think Heayocity is the only one getting anywhere in that arrangement. And hey, if you're getting paid to throw three Heavyocity-designed loops into a car commercial, you're doing alright! But the bedroom hobbyists shelling out hundreds so they can press a single key and sound like Zimmer, et al, well. Or, of course, for "time strapped professionals" who have no creative ambition beyond their next paycheck. Most heavyocity stuff is targeted at lazy 'composers' who want canned sounds / loops rather than learning how to make this stuff on their own.
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