Denis Zlobin

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About Denis Zlobin

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  1. A new track

    Very nice! Every sound, every single note here lives its complicated life, everything breathes.   Speaking about live violin - it sounds perfect, and I'd say, that it sounds probably too perfect. Are they processed with Melodyne, or something like that? I mean, it would be great to hear some natural artefacts, maybe some unperfect pitches, that are typical for live string instruments perfomance - just to bring some more life through this imperfection. But anyway, I really like this piece. Sounds great.
  2. Need some feedback

    Thank you Elahrairah,   You are right, there is live violin in Hundewache. The piano is Addictive Keys, but to preserve that live sence I produced the hole track off the grid without correcting any midi-notes in my DAW.   Speaking about sound in The Story Unfolds - there is also live solo guitar, but the whole sound concept is not actually about EQing, it is more about dynamic processing: I used parallel compression for solo guitar, and a complex structure of different distortions and saturators in send channels for practically every instrument. Solo guitar is also kind of double tracked (this is, although, not a real double track): we recorded same performance on two separate tracks, one of which was distorted, and the other one was clean. After that I panned these tracks to left and right and used some different dynamic processing on the channels. 
  3. Need some feedback

    Thank you, guys!   Everything you've said about changing and evolving is a really good point, and I really understand that my music lacks that. Most of the projects I worked (casual and mobile games) didn't need that aproach, but I think that I should develop my skills to produce more dynamic and evolving tracks in future   Speaking about "Hundewache" - it was produced for an indie 2d adventure game of the same name, which, unfortunately, was cancelled about a month ago. This particular track was produced for an intro scene: old sailor sits by the seashore, right after the great storm that damaged his house, his ship and the lighthouse he has to take care of. Lighthouses are very important for this world, beacuse they are the only way to navigate between different floating islands, and our character's duty is to keep them working. He is sad and tired, but he understands that he has lots of work to do, so he is just taking a short breath before starting a long and difficult journey. The whole scene was a kind of meditative, an so is the track.   Speaking about concept - it was a kind, pensive and very intimate story, so I decided, that minimalistic and intimate soundtrack with only piano, violin and atmospheric sounds would be a perfect fit for that. This was a concept of a whole soundtrack, not this particular track. Anyway, this project is already cancelled, but maybe one day I'll find something with a similar mood to use my sketches.    Many thanks for your advice - it is very important. And thanks for the reference track, Keith - they are both great and really distinctive.
  4. New sound effects library

    I'll be glad to test and review your library. I'm also able to write some words in my native tongue for russian game music makers communities - of course, only if you need that. You can contact me via e-mail: denzlobin@gmail.com.
  5. Need some feedback

    Hi, everyone.   A couple of years ago I've got my first game project and started my previous topic here. After that I have done more projects and have gained more experience. But I still feel like a beginner, and it is still pretty hard for me to find a new paid project. So I'm asking you again to listen to my music and to provide me with some wise critisism and advice.   Here are some of my latest tracks in different genres: https://soundcloud.com/cardinalgray/denis-zlobin-feat-julia-vasilyeva-hundewache https://soundcloud.com/cardinalgray/denis-zlobin-the-story-unfolds https://soundcloud.com/cardinalgray/denis-zlobin-aurora   And please, feel free to contact me via denzlobin@gmail.com if you want to collaborate.  
  6. Need some critisism and advice

    http://soundcloud.com/cardinalgray/denis-zlobin-hail-to-the-king New track. I'll be glad to hear your opinion on that.
  7. Synth Sampling Stations: The Ultimate Package

    Hi, Nathan [quote]Back when I was still early in electronic composition/audio production field, I purchased a sound module from Edirol that had some pretty fantastic sounds. It cost me about $700 in 2002 or 2003 if I remember correctly...[/quote] I understand your point, but I'm not sure that you comletely understood what I was going to say. Probably, because of my poor English The thing I s not actually about Hardware vs. Software, and I'm quite sure that nobody actually needs [b]sample[/b]-based hardware instruments in the XXI century. Hardware synthesizers are usually better than their software analogs, and there is a lot of technical stuff behind that, which I'm unable to explain in English, but this is still not a point. I mean that synth sampling station will never give you as much flexibility as real synth (no matter, software or hardware) does. Acoustic instruments are much more flexible than sample-based, and there is the same thing with synths. And I see no reason in bying synth sample library or synth sample-based instrument, which usually costs more than good software (and sometimes - hardware) synth. Of course, synth sample library offers you samples from many differents synths, but they are still samples and limitations here much higher. As far as I know, EastWest doesn't produce software synths, they produce sample-based stations. NI does, and their products are good, but sometimes too special and sometimes - not so perfect. For example, FM8 or Absynth are great synths, and I would call them best products in the world of FM-synthesis ever. But FM-synthesis is very complicated thing itself, and needs a lot of special math skills to work with it professionally. Massive is good synth, but it has a lot of aliasing, which is a problem of the most of digitals synths (hardware and software). Sometimes aliasing is not a problem at all, and sometimes it can actually ruin a timbre or a whole mix on some frequence. Reaktor is a great instrument itself, but you should be a really synth geek to operate it well. Downloadable user-made Reaktor ensembles are often too glitchy and buggy, just because making good synth is a very difficult job, and best software synths are made with low-level coding. Synths I mentioned before are examples of perfect software synth engineering, and they are quite unexpencible. DiscoDSP Discovery, Tone2 Electrax and AAS Ultraanalog are also quite easy to use. But probably my opinion is kind of corrupted due to I don't like Native Instruments' products (I can't actually explain why, it is intuitive thing), and a great fan of good indie software. Cheers, Denis.
  8. Synth Sampling Stations: The Ultimate Package

    Sorry, guys, but I think that synth smapling station is kind of nonsence itself. Many great software (and even hardware) synths can be purchased for lower price, and they will sound better, offering more flexibility to a musician. But it is important to choose "correct" synths with good algorithms, something like DiscoDSP Discovery, Tone2 Electrax, AAS Ultraanalog / Tassman, or old assembler-based buddy VAZ Modular
  9. Sound teams vs. the One-man Operation

    I know some solo-workers, and their work is sometimes too banal. I think that focusing on the one aspect of the many is the best way to become a real professional. But the industry will always need solo-workers due to tight budgets, difficulties with coordinating big team, etc.
  10. Personal influences?

    Love "Summon the Worms" by Brian Tyler (Frank Herbert's Children of Dune O.S.T). I think that it is one of the best epic soundtracks ever. [media]http://www.youtube.com/watch?v=0iBS9BemtDk[/media] I also would like to mention every film score by Graeme Revell.
  11. Need some critisism and advice

    Hi, [quote name='Moritz P.G. Katz' timestamp='1337089524' post='4940402'] I'd rather save up some money and go for Gold instead of the Silver edition. The amount of instruments and articulations more than makes up for it. [/quote] Thank you, I'll think about that. I'm actually drooling over this bundle: http://www.soundsonline-europe.com/Complete-Composers-Collection Unforunately, too expensive for me now.
  12. Critism :)

    Hi Sebastian, Sound is good, but I can't actually imagine the game to fit this kind of music. Probably, a platformer or a puzzle for mobile devices, but in this case it will need less "bright" and comlicated drum parts. Otherwise beat can become annoying, especialy in the loop. Denis, [url="http://soundcloud.com/cardinalgray"]http://soundcloud.com/cardinalgray[/url]
  13. Feedback Wanted

    Hi Shea, Nice ideas, good harmonies. But I found orchestral instruments kind of synthetic. It is not actually about the sound, it is about how you play them. Probably, you should learn more about orchestrations. Denis, http://soundcloud.com/cardinalgray
  14. Need some critisism and advice

    Thank you, the demo sounds great! Guess, I'll purchase a minor version next week
  15. Need some critisism and advice

    Many thanks, Caleb, I recorded live guitars for "Bike Ride". Some leads and bass on "Menu Theme" and "Space Race" were made on hardware Korg EMX-1. Other sounds are made on different VST-instruments. I am planning to buy some orchestral VST's, and I'd like to find something appropriate, but not expensive. It would be great if somebody could help me to choose a worthwhile product.