#Kilohearts | Explore Tumblr Posts and Blogs

vyl3tpwny · 1 year

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do you have a preferred method to get vsts and other such instruments for a DAW?? im poor as heck and dont know ANYTHING about piracy, im so scared of getting goobered by people on the internet

i wish i knew more about the best go-to sites for pirating rn unfortunately i have no clue. ppl on the internet can have such shit intentions too so i dont even know where to look or who to ask. but also here's some free + VERY cheap things u may consider (below the break):

vital synth (i will always shill for vital bc i use it constantly and its free lol)

ob-xd synth (it says buy for $49, but the free download is on the left. the buy link is just a donate)

klanghelm plugins (all these are made by one dude. mjuc is a great vintage style compressor, the dc8c is a pretty featured compressor for the price, sdrr has a particularly nice tube saturation/distortion, and vumt is a great metering plugin, i have vumt on every single project since 2019)

analog obsession (if you donate $5 to their patreon you can get every single plugin they make. also all made and maintained by one person. lots of different things, so i recommend just downloading everything and exploring the functions of the plugins)

tokyo dawn labs (all very high quality mixing stuff. they have free versions of most of their premium stuff and they're quite featured despite being free. ez.)

kilohearts (they recently made all their main effects free. and if you want their flagship stuff, its all rent-to-own as well.)

sforzando (soundfont player. if you dont know what soundfonts are, theyre essentially really condensed, lightweight sampled instruments. they can often sound rlly cheap or tacky [which might be good, i definitely love that sound] but just install this and google [instrument] soundfont and just find lots of free instruments that way)

togu audio line (some free effects and instruments if you scroll down. but i also recommend TAL Sampler if you want a cool sampler and can afford it)

meldaproduction (has a free plugin suite. theres an annoying watermark at the bottom for free versions, but everyone understands. shit is expensive)

native instruments (they have the komplete start bundle which is just a bunch of free decent stuff)

musicradar FREE SAMPLES (ive sworn by a few of the sample resources that i've gotten from musicradar as far back as 2011 lol)

looperman FREE SAMPLES (looperman is a user-sourced sample website where ppl upload samples they've made* and you can just download and use them for free. sometimes people request specific credit, so check for that if you can. *NOTE: its very possible for people to upload unlicensed samples or stuff they didn't make so use your best judgement when sorting through stuff)

freesound FREE SAMPLES (freesound rules always reliable)

synth1 (AHHHH IM SO HAPPY I CAN RECOMMEND THIS RIGHT NOW!!!! synth1 used to be abandonware but was finally picked up again and is supported by modern systems once more. i used this religiously from 2013-2017. and i'm going to start using it again honestly)

valhalladsp (this is the only exclusively premium thing i'm going to leave in this thread [aside from bitwig, below], but it's just that god damn good. every plugin of theirs is $50, so if you can manage to go for ValhallaVintageVerb and/or ValhallaDelay you will basically never need another reverb/delay ever again; would recommend NOT pirating from them if you can help it bc theyre definitely a very small company but u know.. ur call)

bitwig (if you need a DAW, i can now heartily recommend Bitwig. it's on the rent to own program through splice if you're ok getting it legally...)

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i know this isnt what u asked but i hope its still helpful. i've also rescinded my recommendations for spitfire audio bc the company was revealed to be run by a bunch of queerphobic knuckleheads. everything in this list i have personally used for my own music and can vouch for them from actual experience (YES even bitwig, i made the song "Futura" on Carousel exclusively with Bitwig, making it the first time i've made an entire song outside of Ableton since 2014).

again i hope this helps, forgive me for not knowing enough about pirating at the moment 😭 please make so much music and please look at this animal:

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patricia-taxxon · 4 months

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On the subject of transient shaping: do you have any recommendations for good transient processor VSTs?

the kilohearts one is free & simple but comprehensive feature-wise.

#cilantromixture #patricia taxxon ask

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fox-poke-fanatic · 8 months

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Wonder what unit of measurement you'd use for friendship. Kilohearts? Friends per Square Inch? Love points?

#pokeblogging #pkmn irl #irl pkmn #pokemon irl

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ginormousweaselsinmyhouse · 7 months

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hi!

musician struggles, here. please retweet this. i'm suffering from a living god damn nightmare.

i am wanting to find a good pitch-shifting VST for a song i'm making. great, right? fantastic. although, here's the catch. nearly every single VST i've come across is paid, or just simply does not work. i really do not think it is hard to make a program that shifts the pitch of a synth. so please, if any musicians are out there, hit me up. begging you.

note: i use a program called mulab. and yes, i've tried kilohearts. for some fantastic reason, putting the pitch shifter on any synth slows it down by about 0.2 seconds. it's unbearable.

#musician #music #music struggles #musician struggles #composer #artist struggles #help!!

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charlotteathena · 11 months

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What software do you use for creating music?

ableton live is my daw! then for plugins i highly recommend vital. also the MeldaProduction MFreeFXBundle and also the Kilohearts Ultimate bundle & then the rest of my processing is either ableton stock or plugins i custom-wrote for myself

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erice549 · 7 months

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streaming advice:

you can make a USB mic sound good. there's this magical thing called VSTs and there's a bunch of them available for free.

my favorite suite has to be this (account required):

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andronicmusicblog · 6 months

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GameSoundCon 2023: A reflection on the game audio industry

I had the pleasure of attending GameSoundCon 2023 in Burbank, California, and it was an exceptional experience. The conference was filled with talented and passionate individuals from all corners of the game audio industry, and the diversity of voices and perspectives was a true highlight of the event. We will never thank Brian Schmidt, the Executive Director, enough to organize such a remarkable event every year.

What impressed me the most about GameSoundCon was the strong sense of community. Everyone was supportive and welcoming, and there was an inspiring feeling of excitement and collaboration in the air. I was pleasantly surprised to see how industry veterans took the time to engage with newcomers, offering guidance and advice on how to navigate the field. The conference was a great opportunity to meet new people, exchange ideas, and build relationships.

One of the most exciting aspects of the conference was the opportunity to learn about the latest trends and technologies in-game audio. The sessions were informative and engaging, with industry experts sharing their insights on topics such as adaptive music, procedural audio, and the use of virtual reality in sound design. I was particularly impressed with the keynote presentation by a renowned game composer, who shared their experience working on a high-profile game title and the challenges they faced in creating a memorable and cohesive score.

Another highlight of the conference was the expo hall, where I had the chance to see and try out the latest audio tools and equipment, such as Audiokinetic (Wwise), Epic Games, FMOD, Formosa Group, Dolby Laboratories, Xbox Game Studios, SIDE, Game Audio Network Guild, Kilohearts, Materia Music, Miraisens, Motion Picture Sound Editors (MPSE), Outspoken Audio, Reactional Music, ReelCrafter, Sound Ideas, Sound Particles, Tazman Audio (Fabric), The Female Composer Safety League, The Halp Network, PlusMusic AI, Scoring the Game, World Health Organization: Make Listening Safe, IGDA/IA-SIG, Source Elements, Tom Salta Masterclass Series & AutoBounce.

The exhibitors were knowledgeable and eager to share their products, and it was a great opportunity to learn about new resources and techniques that can be used to enhance game audio.

Overall, GameSoundCon 2023 was a fantastic experience, and I came away feeling inspired and energized. I highly recommend the conference to anyone who is interested in game audio, whether you are a seasoned professional or just starting out in the field. The conference offers a unique opportunity to learn from the best in the industry, connect with like-minded individuals, and discover new tools and techniques that can help take your game audio to the next level.

I had some epic moments this year at GSC 2023; one featured my fellow teacher and mentor, Tom Salta. His stand showcased the “Tom Salta Masterclass Series” and “AutoBounce.” Auto-Bounce is a collaboration between composer Tom Salta and software developer David Molnar of Renegade Soundplay. Tom Salta realized that the bouncing process in Logic Pro was time-consuming, repetitive, and prone to errors, especially when dealing with stems, multitrack, and mixes.

Tom Salta is a renowned game composer who has worked on a variety of popular titles, including Halo, Deathloop, and Prince of Persia. He is also a passionate advocate for interactive music and has given many lectures and workshops on the topic.

Tom Salta had 2 panels. His presentations are always interesting and engaging, and he maintains a professional and content-rich attitude. “Composing Interactive Music lecture” and “Scoring Terror (The Music of Outlast Trials)” were remarkable;

In his lecture "Composing Interactive Music,” Salta discusses the unique challenges and opportunities of composing music for video games. He emphasizes the importance of understanding the game world and characters and collaborating with the game developers to create a cohesive and immersive experience for the player.

Salta also discusses a variety of techniques for composing interactive music, such as the difference between linear and non-linear music, looping and layering techniques, and an introduction to adaptive music middleware. He shares his experiences and insights from working on some of the biggest games in the industry.

Salta's lecture is a valuable resource for anyone interested in interactive music composition. It is informative, engaging, and inspiring.

During Salta’s lecture, we learned some important points about interactive music. Firstly, interactive music can greatly improve the player experience. In order to create authentic and immersive music, it’s crucial to have a good understanding of the game world and its characters. Collaboration with game developers is also essential to ensure the overall experience is cohesive and unified. There are various techniques available for composing interactive music, such as adaptive music middleware and procedural audio. It’s important to be creative and experimental when composing interactive music, as there are no hard and fast rules to follow.

If you’re interested in learning more about Tom Salta and his Masterclasses, be sure to check out his website and social media pages at www.tomsalta.com.

At the session’s end, he looked like a star signing autographs and taking photos.

The same happened the day after Inon Zur with “Composing Music for an "Out of this World" Game - Starfield and More.” The 2 composers have been under the same representative for a long time, early with the legendary game composer agent Bob Rice and today with Jeremi Valiquette.

One of the most memorable lectures at GameSoundCon 2023 was Inon Zur's talk on “Composing Music for an "Out of this World" Game - Starfield and More,”

Zur is a renowned game composer who has worked on a variety of popular titles, including Fallout 4, Dragon Age: Inquisition, and Crysis. In his talk, Zur discussed the unique challenges of composing music for a science fiction game and how he approached the task of creating a score that would be both immersive and inspiring.

Zur began by talking about a concept: “Tell me something I know, Tell me something new.” When writing music, a composer may take the listener on a journey that could start with something familiar and accessible, which helps to ground them and make it more relatable; then, the composer may decide to introduce new and unconventional changes. By doing that, a composer can create a dynamic and engaging musical experience for the listener.

It starts by reminding the audience of something they already know,

Zur created a score that would be both diverse and cohesive. Starfield is a vast game with a wide variety of environments, from bustling space stations to remote planets. Zur wanted to create music that would reflect the diversity of the game world while still maintaining a consistent organic overall sound in a multiverse/universe sci-fi environment.

To achieve this, Zur used a variety of music tech. He incorporated traditional orchestral elements in a different dress. He also used a variety of ethnic instruments to reflect the different factions in the game.

The result is a score that is both immersive and inspiring. Zur's music captures the vastness and grandeur of the Starfield universe while also conveying the wonder and excitement of exploring a new world.

There was a very interesting moment at GameSoundCon 2023, Stray Gods: Creating an interactive musical by Austin Wintory.

The panel was about Stray Gods, a musical video game where players can control the music, which adapts to their choices in real-time. The game is set in a modern world where the Greek gods have returned. Wintory's creativity and vision have made it possible to create such a groundbreaking and immersive musical experience. During the session, Wintory used a flowchart to explain the interaction of the music, depending on the player's decisions. It's incredible to think about and demonstrates the brilliant mind behind the game and the composer itself.

I am a super fan of Cyberpunk 2077, Vallorant, and the TV show Arcane by Riot Games.

The “Cyberpunk 2077 Phantom Liberty: Sound Design - Taking It Up a Notch” panel was hosted by Michał Pukała from CD Projekt RED, and it was truly remarkable. The session focused on the top-level sound design and technology used in patch 2.0 of Cyberpunk and the new episode “Phantom Liberty”. It was interesting to learn how consumers usually only notice graphic and visual improvements while leaving audio at a subconscious level where everything is fine until something goes wrong. However, in reality, sound design plays a crucial role in creating a rich and immersive experience for the audience, and on CYbeprunk 2077: Phantom Liberty the result is fantastic. Michał explained in detail how at CDPR they created and improved sound elements, including recording organic mechanical sounds in the backyard of his colleagues' sound designer and processing them to create the new engine sounds. The end result in Cyberpunk 2077: Phantom Liberty is truly impressive and enhances the overall experience.

Another highlight of GameSoundCon 2023 was the panel discussion on exploring the processes of in-house music teams. The panel featured a variety of speakers from different game studios, including J.D. Spears, Brendon Williams (from Riot Games,) Joshua Carro, Skye Lewin, and Becky Allen.

The panelists discussed a wide range of topics, including the different roles on an in-house music team, the challenges and rewards of working in a team environment, and the importance of collaboration. They also shared their insights on the different stages of the music production process.

One of the most important takeaways from the panel was the importance of communication and collaboration. In-house music teams often work closely with other departments, such as game design, art, and programming. This close collaboration is essential for creating music that is well-integrated into the game and enhances the overall player experience.

The panelists also emphasized the importance of creativity and flexibility. In-house music teams often need to work on multiple projects at the same time, and they need to be able to adapt their style and approach to meet the needs of each project.

Overall, the panel discussion provided a valuable behind-the-scenes look at the work of in-house music teams. Clearly, these teams play a vital role in developing video games and contribute to creating immersive and memorable experiences for players.

In conclusion, the game audio industry is rapidly evolving, and there is a high demand for skilled professionals who can create immersive, engaging, and memorable soundscapes for games. The industry is becoming increasingly diverse, with people from all backgrounds and disciplines finding success in-game audio. Suppose you are passionate about game audio and want to pursue a career in this field. In that case, many different roles and opportunities are available, ranging from music composition to sound design to dialogue production and beyond. You can make your mark in this exciting and dynamic industry with the right skills, knowledge, and passion.

#GameSoundCon2023 #GAMESOUNDCON #GAMEAUDIO #GAMEMUSIC #GAMESOUND #MUSICTECH #MUSICTECHNOLOGY #GAMEDEVELOPER #SOUNDDESIGNER #MUSICCOMPOSER #VIDEOGAMES #GAMEINDUSTRY #GAMING #indiedev

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torley · 1 year

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Over 750 presets for the Kilohearts Phase Plant VST Plugin. Created by renowned Amiga Musician XTD - They've created a pack with a distinct nod to the past with the benefits of todays plugin technology. Inside this Phase Plant sound pack you'll find lush old-school sounds such as 8-bit ARPS, variety of sounds. Sound & Music https://sound7.com/products/kilohearts-phase-plant-sounds-past-and-present

#pinterest #Sound & Music

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forastic · 1 year

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Jam session project

UCSC DANM grad school winter 2023 - week 6 (feb19 - feb25)

The prompt for this project was to create a gift for someone that you could not deliver. After deliberating about making something really sad or angsty, I decided to make a project I’ve had in the back of my mind for a while.

I’ve had dreams where I can pick up a guitar and play it effortlessly - my every pluck and strum sounding beautiful. I’m not a guitar player. I decided to make this interactive project for myself when I’m dreaming - a gift I cannot give.

I was unable to get a guitar, unfortunately, so I settled on two keyboards and a microphone. I created an ableton live project with 3 instruments. One keyboard controlled a pad sound, mostly made of slightly detuned square waves with a slow attack and decay. The other keyboard controlled a lead sound, with a little bit of portamento and heavy delay effects. Both sounded a little sad and video gamey (they were influenced by disasterpeace’s work on Fez) and were made in KiloHearts Phase Plant soft synth. The microphone input had a series of compressors and EQ, as well as a little distortion and delay. It also had auto-tune on it, set to G major.

The keyboards both had midi effects on them that corrected every note press to the G major pentatonic scale.

I’ve been thinking a lot about fail states in games and player agency. Is a fail state necessary to feel like a player has agency in games? No, of course not. But how about music? Guitar hero is fun, but it’s basically advanced simon says. There’s very little room for improvisation in it - you’re doing it right or wrong. Picking up a musical instrument can be incredibly intimidating as the learning curve is steep. How much failure in music performance is necessary for a feeling of agency? I wanted to make it impossible to sound bad, but possible to sound better. I wanted the person interacting with the jam session to feel free to explore and improvise.

I set up the two keyboards and the microphone deliberately, so the participants would be required to look at each other. In jam sessions a lot of what is conveyed is through eye contact and subtle body motion. I wanted my amateur musicians to be able to intuit this just from deliberate positioning of instruments.

I also wrote on post-it notes near the two keyboards, encouraging people to play with the octave buttons built in. There were also instructions - the keyboard with the lead had a note saying “Play one note at a time! Play a cool melody!” (the instrument was set up to be monophonic). The pad keys said “Hold down 2-3 notes at a time!”

I had members of my class (and patrick) try it out. They played for a couple minutes, then switched stations.

I received some good feedback about what it felt like and how to improve. The vocals needed better monitoring - without hearing the autotune clearly the singers were still feeling as though they could fail. I really want to try this with an electric guitar, so I’m going to prioritize that next time.

Here are some videos I captured of the test:

https://youtu.be/oVpKE83XiQY

https://youtu.be/ECR9qt01Rv8

https://youtu.be/to_qYGYHo4E

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granite-beats · 1 year

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Second beat made with the free kilohearts onez vst #flstudio #ableton #logicprox #cymatics #kiloheartz #cxdy #internetmoney #producersoftiktok #producertok #producer #ufo #alien #beat #vibes #lofi #free #trap #cookups #typebeat #music

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vyl3tpwny · 10 months

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Hello Vylet, I find your music inspiring to me. as I am beginning to get into music production myself. With that being said I find it very difficult to find a place to start and I don't really have a direction. Is there any advice that you could give beginners like me on trying to get a foothold in music? Like sources, or things that should have a higher priority in learning?

the thing i tell most ppl is to start learning with whatever interests you the most first. for example, if you rlly like drums and rhythms, start by experimenting with drum beats and programming stuff and performing things like that. if you really like the idea of arranging things into a song, get some loops and shit and just feel out how to arrange things. as you get proficient in one aspect, start throwing in more things that you're interested in.

for me, i really liked composing and arranging when i started. so i didnt care about how good the instruments were or how to mix anything or how to refine anything. i just focused on taking instruments, composing things with them, and arranging on a timeline. then i got super interested in sound design so i started to learn more about how synths ACTUALLy worked, and how to use effects to change things.

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whats cool is you can actually find lots of old sample cd's archived on archive .org [just google archive . org sample cds]. so tons of free samples there. looperman is another classic sample resource. freesound also. you can pay splice for sample credits and u can have a certain amount of sounds for a monthly fee. but u can also just sample songs too. hey! you can sample my songs. that's always safe :3

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i always find andrew huang's videos to be great for beginners

fact magazine has a great series called against the clock where you can watch ppl make a song in a few mins and observe workflows and ideas

even if u dont use live, ableton has some great videos and seminars on making music and stuff.

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if you need a DAW, bitwig is available on rent-to-own so you dont need to commit to smth

and if you need some third party plugins, check out vital , ob-xd , klanghelm , and analog obsession for some cheap and free stuff. i say this everytime ppl ask for software recommendations but Vital is such an awesome free synth. i use it on almost every single song i make!!!!

also sylenth is one of my fav synths after over 10 years of using it and it's also on rent-to-own

everything on kilohearts is rent-to-own and i love all their shit too.

hope this helps a little bit!

#vyop

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