Tag Archives: far cry

Brad Ormand - ProTools Shot - Strike1

01.26.2015 – Song Submissions & Hex Light

I have been feeling under the weather lately.  (ugh).  I had to take a break for a bit, and I don’t have any fancy craft pics to share this time 🙁  I replayed Far Cry 3 and watched a few movies. I had to take a few days off of work.  It wasn’t a picnic.  It really set me back, actually.

But, since then, I have been feeling better ( a LOT better), I returned to my job and have been tweaking a few songs to be at their best – namely, “Strike” and “The Crew’s In The Kitchen”.  I submitted a few songs to labels and libraries.  Even though they aren’t “done” for production, they are really, really good demos.  And, I feel confident submitting some of them that are near their mark.

Brad Ormand - In Studio

I ran them by friends and saw that this was some of my best work (engineering-wise and songwriting) to date.  The rest, I’ll keep working on.  Once they are all ready for production, I’ll release.  I estimate, maybe June, for the drop – if I don’t have any under contract, I’ll drop ’em, that is.  If not, I’ll have an album that I can use to represent my work from 2013 to early 2015.  I’ll drop somethin’ down regardless, and promote it in the first half of 2015.

But, I am considering moving on to making production music for a while after that.  Music royalties have been good to me over the years, and I think the whole process is exciting.  So, I feel like I wanna try that road again.  I write and produce for “scenes” anyway when it comes down to it…  And plus, I have much better material now than I did when I was successful in music, before, so…  let’s go!

Let’s talk about “Strike” for a minute.  For metal fans out there, I think you’ll love it…  But, for those on the fence, I don’t want it to get misunderstood.  It’s not about fighting (between humans).  Haha. Let me say that I want you to envision a caveman that is facing an unintended encounter with a tiger.  The tiger knows you are there and that you are tasty, and moves in for the take.  It’s at that moment that you want to put on the headphones to listen to “Strike”.  No headphones for the caveman, of course, but that’s the attitude it portrays:  Survive this.  Put your brows down into position.  You’re going to have to pull out all that you’ve got!  And, maybe even have tiger for dinner, I say.  Ha. “Strike.  Hit back!  Yo, grab ahold and get that!” (not playing) and “Take control and bring back”.  Seriously.

Brad Ormand - ProTools Shot - Strike1

The big takeaway for me with “Strike” is that there’s no guitar recorded, but it sounds very metal-like.  It’s the way I mixed it and tweaked the mod wheel during recording to make it sound like pinch harmonics.  That’s just what I set out to do.  It was an experiment.  I wanted to go SUPER heavy on the main instrument and provide a full spectrum bandwidth during the chorus, with the sub bass and accessory instruments, but with my closest synth approximation of what it is that makes those famous molten metal songs work.  There’s a gap or lull in the shore for the pre-chorus, then BOOM – full wave bandwidth chorus.  White noise like crest smashing.  I like this direction.  I want to do more.

And, in other news, I started another painting, recorded a snippet for a new song, painted the existing Dodecahedron (I hate it lol), and started a possible collaboration for a metal (like steel or aluminum) version of the Dodecahedron!  That will be nice…  Also, I realized a fatal fault in the Hex Light.  Yes.  Port PD6 was crossed over (by design in my circuit layout) with PB6, because it would lay out just right, but it makes it super unreasonable for the software to have to split PORT D over my ROW 3 of Common-Cathode RGB’s, in which 1 of 3 is at PORT B.  I’m not going to go all into it, but saying: ROW_3_PORT |= (1<<ROW_3_B)… would fail since ROW_3_B would be of a different PORT than ROW_3_G and ROW_3_R . It’s not clean.  It’s not what I really want.  I’d rather have a top jumper on the board than to have this major compromise / hardship in the firmware.

Ok, so, I’ll fix that, and hopefully get the thing working, now that I’m back and active on the project again.  It’s so damn close!  Happy Monday to you. 🙂

 

 

Brad Ormand - Waveform of Good Kick

10.10.2014 – Analog Filters, Skrillex & Philosophy

Ahhh, yeah.. Detour yesterday. I forgot that I had ordered some (like 3 of them) Analog filter design books last week – used, for like 1/10th of the price, each (Goodwill listed one that I had been looking for for a long-ass time that went for over $130, but I got it for 8 bucks.  It’s totally readable – I mean it’s just like the books I got used from the University bookstore – totally all good for learning the information contained inside, even if there *is* writing in it). Totally exciting.

Well, I got one in yesterday, and I dove in. Totally informative. I had held off on getting them before because they were all well over $100 each. Anyway, I had been wanting to clarify and solidify my knowledge of signal filter circuits – for audio frequencies, especially. I’m not going to redesign my Audio Tool, but for my next projects (specifically the synth), I want to be very precise with my values.
There are 2 things that I want express about this whole experience:

#1)  The purpose of diving in to learning this topic is precisely so that I can deeply understand the theory and coordination between the components in each configuration so that I can commit to memory the operation of each configuration.. So that when the time comes to design a certain idea that I have for a device, I can just pull out the myriad of design angles from my mind at that point in time and get right to designing it without going to books or the internet first. It’s like having tools in my toolbox that have been tempered with experience and focus, ready to be used in the real world, instantly.  That’s what I’m going for, in the end.  That’s probably how Edison and Einstein and Michelangelo and Leonardo did it, I think…  Like, being able to produce on the fly with existing knowledge – not always having to detour out, saying, “Now, what was the way that went again?”,  “How do I do that again?”, “Better ask Google”.
#2) The reason for getting 3 books on the same subject is for reinforcement. I take this approach for pretty much every topic I learn – I get multiple sources. One author teaches from his/her experience, another from thiers. Also, it’s parity towards authors who may not be so experienced, or are motivated to write the book to impress their peers or for publishers to make money.  I’m not cynical about this, just aware that this exists and that it’s human nature and it’s “ok” to do so, but it is noise over my endgame. Never can know.

I’m also looking for real love of the subject by the author. There are just a lot of books to choose from, and establishing habits at the beginning of learning something is very influential later on and hard to break, thus..  the 3+ sources.  The important thing to me is the actual understanding (leading to real-world capability) of the subject to use in daily life.  So, by having a few sources of learning for a subject, they act as patches over each other – where one book was weak, another may “fill in the gaps”. So, that’s a sentiment that I have been wanting to write down for a while. 🙂

Anyway, back to the topic at hand…

So, like 6 hours were dumped into 100 pages of analog circuit design yesterday – following schematics, more theory, etc…  I sat outside in the breeze. However, I did manage to mix out some songs: “Kitchen” and “Looking for” for kick and sub frequencies. Better, both of them.. But, still needs more work. The kick on “Looking For” is nearly perfect for what I can do, and I’m stopping right there, but needs some sub help on the chorus. Ahh – so tricky…

“Kitchen” is gonna have to have it’s kick replaced, I think (again) – can’t get this kick I recorded to work (it’s an 18×22 kick I have in my studio), tuned low with its fundamental at about 47hz. It just doesn’t have the tight characteristics I’m looking for for this particular mix. Plus the bass guitar is high and tight, too. Ahhh, on second thought.. I’m just going to re-mix the bass and kick altogether. There should be enough 80 to 200hz frequency info in the beater-side track.. I’ll version it out. I’m somehow gonna get it right and tight, but keep that 50hz resonance, slightly. I’ll try that.

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And, the version of “Dive” that I did Sunday rocks so hard. I really love it’s sub & kick frequency combo. Also, I think “Fine” is working out nicely as well. I mean, I do hear some inconsistencies between mine and commercial tracks. I know I am not “matching up” to the best of the best, yet, but I really do think this is my best mixing ever – It’s a far cry from what I was producing 5 years ago, and in another 5 years, I think I ‘ll have come in to my own personal resonance 🙂

Speaking of Far Cry (I mentioned it…)..  haha I am looking forward to Far Cry 4, for real.  Love the series, played them all to the bone.  Big environment, great textures, immersive world, story – all of it…  Highly influential to me…  Plus, they had Skrillex’s track (Make It Bun Dem) in a prominent scene in the main story in FC3.  Oh god..  Just love to hate that track because it’s so good.  Lightens my life.  Love this guy. All of his stuff is gold as far as I’m concerned.  Dat boy good…  Plus, I’m loving, right now, the Reggae philosophy of peace, love and happiness and harmony, mon.  For real.  Irie! So, I took a liking to it.  The kick audibly clips, but sounds so good, actually. (I’m not a traditionalist 18db-of-headroom kinda guy 🙂 ) I had to study it, since my focus is on kick & bass mixing right now.  It’s got this certain knock/punch, but also has the sub to match – all together balanced.  One of the best I have heard for impact – louder than most.  Here’s a waveform capture.

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