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I've been using Logic for years, and many people have said Reaper is great for recording multi-musician audio sessions (choirs and orchestras) but the interface and the behaviour is so offputting

Thanks!!!

😅😅

I will watch this video again. There were a lot of assertions made that strike me as untrue. I used to use middleware until I learned enough about Unreal to realize that it isn’t necessary. MetaSounds are not even necessary for many of the things you mentioned, such as sample-accurate event scheduling, surround-sound, etc.

Love logic. Hate apple. Really trying to find a good solution.

This is lovely, Adam. Great aesthetic with the visuals, too!

Great tutorial, I'm struggling with ambience, I seem to get a high to low volume on the start of the loop. I'm fine with any loud sounds to start the loop, but lower stuff is quite difficult. Thanks for the tutorial.👍

Great content as always! How are you Adam? Long time no see haha

Love it man 🤘

Super instructive. That start and switch is so basic and useful... I feel like i just learned the 1+1=2 of music. Now time to switch some game musics to my choice.

Yeah i transitioned to Windows as Mac are way overpriced.

Does it have export with wet efx on the render menu , logic is a ball ache

This was epic. thank you. Got me into a Reaper optimization spiral, A good spiral to be in. Question: Do you know how to do a very similar thing with MIDI editor? I would like to keep the MIDI editor docked at the bottom of my screen, as tall as possible, with one track from the main view shown above in the background, and the track view enabled within the MIDI editor (setup as shown in AdmiralBumblebee's video here: "Reaper Tutorial - Editing multiple MIDI items as one". This should also keep the mixer shown on the left as you taught us here. What I haven't yet figured out is how to match any selection between the 3 locations, just like switching tracks on the main view auto switches the selection on the left mini-mixer to match. When I switch selection on the MIDI editor's track view, I would like it to switch selection for the background track at the top and the lefthand mixer track. Hope that was clear enough. Can this be done?

Helped a lot; thanks.

THANKS!

So awesome! 🎉

Bro could i ask for you to loop Wir fliegen - Xenoblade Chronicles X for me? i need some constant loop but with focus on the last part of the music looping it till it never ends could it be possible? can you do this?

Thank you so much good explanation, I'm studying BMUS Composition for Film and game , I have a assignment on May, I need to compose for the game , so teacher told me to do HORIZONTAL RE-SEQUENCING and VERTICAL REMIXING I didn't know what the hell was it, now I understood, ❤❤ thank you

🔥🔥🔥

Thank you! But there seems to be no way to set the mixer on the left side if you use folders.

Excellent

thanks

Immortals fenyx rising sound track is really good that you will have it in your mind for weeks and years. Here's a taste of it, Best played with headphones. th-cam.com/video/qHeSSZmYMfY/w-d-xo.htmlsi=wL7_BvmCKac1LROW

Bravo! It is an exciting invention. Congratulations!

Looks and sounds amazing. Would have loved to hear some of the audio demos from the Silen Audio channel in this video too.

Great video, Adam! Love the "slop" knob, aha.

Thank you! I did all of these in Logic but bouncing in place THEN exporting that audio did the trick (with no audio tail included)

Can you make that loop file into an .OGG, and then upload it to any game? Will that game recognize that as a loop file?

Glad to find this channel. Thank you for these videos, time and effort you put into this👍

What if my music doesn’t have a pre roll? My music just starts on 1 and doesn’t have a count in, and after doing these steps it doesn’t sound exactly right.

This is way harder than I thought, not worth it.

I was just searching for some metasound related stuff and saw that you had used a snippet of one my metasound tests ❤ i know I'm a bit late but I appreciate it. Great video, would be good to see an updated one now its no longer in beta.

I dont think it will ever fully replace established tools and workflows. What I love about it is its connection with the engine itself and the gameworld. Like a car, all the properties that govern its behavior in gameplay can be imported into metasounds, RPM for engine sounds , tire speed relative to velocity for tire screeching etc. Even things like rain drop velocity from a weather system as a driver for the rain pattering sound of a metal roof. If a designer or artist changes anything about the rain particles then the metasound is automatically updated to reflect this change since its interconnected and data driven. This wasn't impossible before, it just took a lot more sound sampling and sound scripting/programming. I think its a great tool for what it is.

Thanks a lot! This UI layout looks very intuitive

Thank you so much!!!! Helped a lot!!!

Hello Thanks thats’s helpful !!!😊

0:02 / 6:34 Will Unreal 5's Metasounds replace WWise or FMod in Game Audio? Nope.

Thanks for explaining that so clearly and concisely. Great video!

Hello, friend. Where can i do the Logic's Theme download? Same as your?

That TAL NOISE is the worse synth I’ve ever heard the name fits it right

"Don't be hard on yourself. Be hard on the Work."

This is so cool!!

love this thnx :000

Oh those changes are lovely, lovely I do say. Orch-wave.

Re: Dialogue-heavy games: Wwise has some issues with this. What a lot of companies do is use Wwise External Sources for dialogue, and use their own middleware to organize it. Or they keep the dialogue inside of Wwise, but they still have middleware that generates Wwise Work-units for them. Wwise is pretty good for this too, but I think there's some room for improvement. Example: You have a 'random container' that's perfect for barks, but there's no equivalent for conversations. You have "sequence" structure, but that doesn't cut it: There's no way to go back a line, or to reboot the sequence. It would be nice if there was a "conversation" data structure. It would be a useful structure for the old walk-and-talks that happen in games; you could even have features for interrupting a conversation and getting back to it, with an optional sub-conversation to make it look seamless: ("what were we talking about again? Oh yeah..."), so much potential there.

DUDE JUST FUCKING SHOW ME HOW. its impossible!!!!!!

Great tip, thanks a LOT ! Had trouble with Random Noise records i wanted to implement as texture on loops, this really helped me 🎉 Greetings from Berlin, Germany ✌️

Hi there! I found your video by accident, and only after I watch it, I realised you are not one of those popular producers youtubers. What does it mean by me? :D I mean, quality of your video, content you put there, and you music production wisdom is really great :) I really enjoyed it, Im gonna look more what happens with that free materials album plan ;) Also, for me as new producer great value was to get your private recommendation about plugins u use. I just downloaded ton of pirated shit, every single extra expensive synth etc, and it really took me a time, to understand that only hurted my POV, deleted it all, all unnecessary samples etc, and go back to process with clean soft, clean head, and with more conscious what I how I want to achieve. Take car!

Man it's nice to see a nuanced take about this soundtrack. I agree with a lot of what was said here. Personally i really like the rompler feel and just the general arrangement of the strings in certain sections. I've heard it described negatively as cacophonous but i honestly like that about it, something about the sound of some of these tracks feels very much like old-school mid 90s japanese video game music and i love it. In the end though i agree that on the whole it was merely fine, some peaks (raven beak bossfight), some valleys and many "good enough" tracks in there. Regardless i thought dread was a great great game.

thanks for this simple explanation, im doing composition for games study and bizarrely its made out to be some complicated process by our tutors