WE RESPECT THE STAFF HERE FOLKS

We hear it all the time, the mystery of inspiration, guided by you muse .
" i don't know it just came to me!" or even " this damn writers block!"
we will be discussing whether music is a mysterious spiritual en-devour,
or indeed a mathematics adventure fused with emotion. maybe even both.

I want to share what I have learned about music based on my background in many areas
I hope to learn from your specialties and talents and whatever you have to share as well

----------THE SECRETS OF MUSIC

 

Last edited: Apr 28, 2017

The goal of this thread is to cover the material people have difficult time getting a hold of. that is to say whether you cannot afford to go to school or things considered mysterious .
I rarely see a clear explanation , maybe here we can achieve that.Please comment with what you have to share or what you wanna know about anything you want, mastering, setting up stages, instruments, music theory, whatever you wanna dig into.


----------------------------------

SIDE NOTE BELOW
-------------------------------

to spark your interest advanced music concepts






Lydian chromatic concept



Augmented scale theory
http://www.javierarau.com/augmented-scale-theory/

http://www.jazzguitar.be/forum/theory/42592-secrets-augmented-scale.html

 

Last edited: Apr 28, 2017

lets dig in with digital recording at home like most do and how to get a finished song that is as good as the very best song on the top 40 or your favorite band that spent 2 million dollars in the studio how they got that result but where you can get just as good at home.

 

Last edited: Apr 25, 2017

Chapter 1. The Magic is in the transient

You hear it from the top mastering engineers in the world, the best producers the best mixing engineers. What do they mean?
sound has the initial attack or clicky part then the decay or the smooth part. With the voice the attack is the transient the consonants and the decay is the vowels. to have your music perfectly represented on laptop speakers or audiophile grade headphones and mastering monitors. you want a consistency yet each recording has its own finger print. if you record 34 vocal parts you want consistency all the attack equal on average all the decay part equal on average without being over processed and fake sounding. we are going to learn the secrets of that in chapter 1.


A. the sound of Analog recording



with analog recording you get non-linearites that add a type of compression that is transparent and natural compared to compressors themselves , this is more inline with a compressor with a ratio of 1:2'.1 or 1:5.1 . whether it is tape, tube, transistor analog even VIRTUAL analog equipment adds a texture and dimension to your sound digital is missing on its own we will use this secret I will share my deepest secrets how to get the best sound you can challenge me with .
I am not going to waste time going through what others have already posted on the baiscs. you can come here to get down and dirty secrets people are afraid to share . to really understand the impact of analog or analog modeling we have relize that analog is dealing with a tiny "atomic" level of graininess and texture that irons out the wrinkles in your sound if you stack different analog tools in a specific way.
I want to use the analogy of a guitar amp for a moment a tube amp . the amplifier is broken down to say 15 stages each effects the tiny "atomic" level of the sound feeding into it. from the input to the transformers to the speaker. each "stage" effects the signal they all "add up" to give you the final sound. this is how we are going to think of dealing with analogy gear and modeling plugins to use the ability it has to shape the tiniest level because that is how great sounding tracks are done!
Amateurs at recording and mixing put a compressor on dry track and push to the extreme this affects the larger part of the sound and the atomic tiny level of detail is all over the place as the sound changes . when dealing with a dry track the transients have different punchyiness throughout besides volume changes different thickness in different areas as the sound changes whether. a vocal singing low to high it changes or a guitar chords with some lead notes or a keyboard changing melody, sound varies, you cannot apply some drastic effect and have it effect the whole changing sound the same way with one drastic setting. we will look at a few analog virtual plugins types to start with there is tube, tape, transistor, transformer, recording desk, they each have unique attributes we will use like how we thought of a guitar amp, each plugin we add to the track we will A:B on and off to where it seems BARELY noticeable, yet as you keep stacking a different analog type on and adjust for your track it adds up , we work on the tiny " atomic" level of sound to get the transients the same thickness throughout the entire frequency range. the same volume throughout, while sounding natural and clear and smooth instead of fake processed over exaggerated. it is okay to stack 10 plugins each doing just tiny tiny bit, that is how analog equipment actually works.
There is another reason we have to stack quite a few, it is because analog modeling is more simplistic than real analog regarding the non-linear and "atomic level", it would to more than supercomputer to fully model a neve desk or even eq module that was a replica. But no worries by stacking and making sure we barely effecting the audio each time we can layer to compensate.

 

Last edited: Apr 25, 2017

INSIDE GUITAR AMP




we have all heard the classic rock guitar songs on the radio, what gives the guitar that smoothness yet 3d quality? what gives it a perception of evenness throughout the sound?

it is in the way the guitar amp works. several stages each doing a little bit at the "atomic" level of sound, we can apply this understanding to all audio tracks in the way we work.



the "atomic" level is the fine grain tiny detail aspect of the sound, ass opposed to the larger time span aspect of the sound.

 

Last edited: Apr 27, 2017

Here we are seeing the internal parts to fathom and understand that a sound feeding into analog gear is effected at the atomic level of the sound at many many stages to get that smoothness yet 3d clarity a expensive studio sound gives.
we will learn how to re-create that step by step with everyday equipment a home studio has ( just need good monitors)decent interface decent daw.

 

Last edited: Apr 25, 2017

Excersise 1A. for you to do. load up the daw grab a DRY recorded track

put a virtual recording desk plugin A to B it barely doing anything, next load up a tube eq plugin same thing barely doing anything make sure it subtle, next virtual transistor, keep stacking listen to how this builds up overtime, we are training ear for the fine "atomic level" of detail. stack 10 any virtual analog barely doing anything bounce it save it mute it.
next load up same DRY track you started with last time nothing on it but put a compressor extreme settings and a eq extreme settings ( that one might use) bounce and compare listen very closely to the stacking of many subtle vs a couple plugins pushed extreme. listen what the difference is in the "atomic level" that is what you could only hear on monitors( not laptop speakers haha). try a couple examples like that different initial dry track.

 

What we are learning here. it the tiny detail level of our sound that would only be able to heard on good studio monitors . for a professional song we have to have that "atomic" detail even and clear throughout a sound, we want our transients the attack to be same thickness throughout a sound and our decay or average part of the sound to be even as well in the "atomic" detail. we do this through building a harmonic foundation with overtones form analog equipment. after you have built that up to the point the attack is even throughout its changes(transients) say a vocal singing low than high in one take, or a guitar play low chords than couple high notes or say piano low to high or synth sounds, after we build that harmonic overtones foundation that thicken the transients evenly , we can add our normal effects and plugins we would paying careful attention to what we hear, we wan to do everything on purpose , that is to say no "wing it" but adjust exactly what "needs" to be adjusted.If you dont need a compressor or limiter you dont use one, if you dont need EQ you dont just start shelving the bottom and top range. (mistake)

 

Lets work on some free mixing stems we can all use together

http://www.cambridge-mt.com/ms-mtk.htm#TheBlackCrown_Flames

go to the FREE The Black Crown ' Flames' 869mbZIP and download

I dont know the condition of the tracks yet but when I hit the preview mp3 while it is downloading the stems i hear that the tiny "atomic" detail is all over the place, in other words it does not sound the same as the best songs in the genre by the top bands in professional studios that pay a lot of money and release their albums.
For example in the mp3 preview the drums sound like "flicking" a piece of paper with your middle finger try this listen closely to the sound of it.

PREPARATION
------------------

 

Last edited: Apr 26, 2017

Once your files finish downloading , open your daw fresh new track set to 220 bpm then import your files inside. Keep in mind im going to show you a workflow give it a chance to see the results and your mind may be blown. (don't get frustrated because we have to go through a number of steps once you get good at it or even right away you get quick at it ) we are going to deal with ALL the transients with great care, because when you get to the final master, that fine detail will shine through (or mess of someone is haphazard with their transients)

name your project the black crown- flame

select ALL the tracks lower the volume by -15 db on each track volume slider so that our master volume is low enough to work with.


SNARE DRUM-
------------------
Lets solo 04_snare1up and listen closely. (we can bring the volume of THIS track back to default )
We can hear in the tiny "atomic detail is all over the place . the transients are different volumes but even more importantly different "thickness" throughout the frequency response , that is to say when the crack of the snare hits there is a loose transient in the low mids that is flabby, a really tight crack in the upper mids and a loose rattle in the highs of the sound . If we approached adjusting this track as is, by throwing a compressor or eq with drastic settings those qualities would stay the same and what we adjusted would create EVEN MORE fluctuations in the "atomic detail" of the sound. we are not going to do that here.

here is example of the dry track
https://www.dropbox.com/s/aygxjajwpwl3roz/tbcf ex 1 dry 05snup1.flac?dl=0


WE are going to put fabfilter pro q 2 on our master fader, then click to have it hover in the right hand corner, this is going to be important for our work, we use it like a visual meter to see frequency response.As we go through you will see how important it is.
make sure you jave the waves plugins fabfilter plugins steven slate plugs and ik multmedia lurseen mastering module,ik multimedia amplitube 4
.

going back to the track with 04snare1up solo it glance at the fabfilter proq2 to see the frequency response balance, we listen to the dry track sound and use the visual tool for two sets of information. we listen for the transients through out the frequency response and we look at the spectrum analyzer of proq2 to see the frequency balance ( we also look at our track fader and master fader for volumes as we adjust the project.

Next we are going to add plugins to the track (04_snare1up)
First add waves NLS nevo setting. Next add puigchild 660 threshold all the way down (we not using the compressor part just the analog stages and transformer modeling), Next Scheps 73 with default settings, Next waves NLS buss mike setting,Next Kramer tape default setting,Next waves J37 settings (815, 15, in level zero +3bias),Next Abbey road vinyl default settings(turn off hum noise part though), Next puigteck MEQ default, NExt REDD37-51 default,NExt TG12345 default, That makes 10 plugins each doing a tiny but, but they all add up each is shaping and smoothing our "atomic level" of the track. We are building a harmonic foundation in order to get our transients equal throughout the frequency response , listen through this track for a moment with the plugins on your monitors.

Save the FX chain as snare analog if you can , bounce the track with the settings then a + b compare back and forth with the original dry with no fx, listen very closely.
here is example sound of the analog chain we made on the snare listen closely to the "atomic" level.
https://www.dropbox.com/s/pedz9it1zfcqtr3/tbcf ex 1 dry 05snupsn analog.flac?dl=0


here is screenshot of fabfilterpr oq2 on right side (master fader) with visual of snare frequency response
https://www.dropbox.com/s/yo5ftjmuo1q5dfi/proq ex.jpg?dl=0

Here we have a picture of "pink noise" frequency that means equal energy per octave


Notice the resemblance with the snare's frequency response , if you look at some of your reference tracks it will be the shape and slope as well.
Now rememeber this particular snare track has a pretty low volume whcih means it is not hitting the stack of plugins very hard at all , that is a good thing we are doing a specific task in dealing with the tiny "atomic" detail of sound, it should not be a drastic difference the bounce compared to the dry it (if done correctly) becomes three dimensional, thick transients throughout smooth yet crisp. this is our fist stage that recreates going into a REAL mixing desk, yes I know right we had to use a lot of plugins to re-create that , but that is the way plugins are, a small price to pay. Next on our new bounced track add Slate virtual tape machines + 9db input 2" tape setting,Next Waves dbx 160 settings , threshold 0.957 compression 3.35 below mix setting 66.6,Next waves GW mixcentric setting INTENSITY 27, Next Waves IM pusher settings are Magic 33.2 Push 4.0 , dyn punch move right to the middle and same for Focus right in middle Body 6.0 High 2.8 and finally output is -9.0 db, Save the Fx chain as Snare COMP
Bounce the snare track with the COMP fx chain do a comparison between the dry snare track before we did anything to A+ B in order to listen closely to the "atomic" level of the sound.
notice the three dimensionality the focus yet smoothness, and most important an authenticity not a fake plastic sound or artificial it has weight and power that feels like a real drum.

we now have 2 fx chains we can use for the basis of the snare tracks and bass drum tracks , we can load up the chains and modify the order say in the analog chain for kick drum or snare bottom , and the compression settings can be tweaked they were not critical use your preference, with each drum , whether toms or overheads or cymbals. use the same methodology with slight variance and changing order of plugin stacks while listening closely. think of the ANALOG chain is stage 1, the COMP chain as stage 2, use a plug to control how hard the initial signal is hitting the chain for more or less pronouncement. I am going to get ready to move onto another instrument. once we go through different instruments for these first 2 stages of ANALOG then COMP we will continue on to stage 3 and stage 4 .
here is sample of the snare with first analog stage consisting of fx chain and second comp stage consisting of plugin chain as discussion (ignore that background noice i accidentally left the hum on for vinyl plug) listen closely to the "atomic" level of the sound then compare with the dry track we first got.
https://www.dropbox.com/s/3aivum8204csapx/snare 1 up analog COMP ex.flac?dl=0
Notice the three dimenionality it has (later when we eq etc. we will have a solid harmonic overtone foundation which keeps the transients even throughout the frequency response of the whole track even if the timbre and the pitch changes volumes changes the transient is full thick and 3d. It brings out the natural sound instead of artificial sound of drastic settings on a single or couple plugins.by the time we do these 2 steps for all tracks it will be transformed and ready to move on steps 3 and 4.(chains dealing with attributes)


VOCALS
------------

next we are going to mute our snare we worked on please name it (Snare1up ANA COMP)to signify our 2 stages we will go back to it.

scroll down to the track labeled 24_LeadVox. SOLO it and set Volume on tracQ2 fader to default .
play through a moment to visual on fabfilter proQ 2 . scroll through see how when it gets louder the level rises up , we keep that in mind for later. We can see that the frequency response slope is correct for now.( equal energy per octave like pink noise) Now we will build our ANALOG chain of fx for this vocal track.
here is a sample of the dry vocal track as it arrived to us.
https://www.dropbox.com/s/h780s6pow916frj/leadvox dry ex.flac?dl=0
Now we will add our plugins first is Waves NLS default spike, Next is scheps 73 default, Next is Puigtec MEQ5 mains off,Next is puigchild 660 setting time constant 3 mains off.( this will "kiss" the transients slightly because of the large dynamic range the time constant of 3 will be middle of road attack and release settings(smooth),Next is Waves J37 input raise to 0 db, Next is Kramer tape default input -2.2 db,Next up is waves NLS BUSS nevo setting noise button off,Next up is waves TG12345 default, Next is REDD17 default, Next is RS56 default, Next is Puigtec EQP1A mains off,Next is Kramer HLS analog OFF (that is hum setting),Last plugin is waves NLS mike setting noise off, This gives us 13 plugins, reason being is the large dynamic range (soft to loud) this allows us to use less compression later on giving more natural 3d sound.
Save you FX chain as Vocal ANALOG . Bounce your track . setup A to B comparison with original dry track vs with stage 1 (analog fx chain) Listen through the Entire ting, listen to how the dry track transients have different thickness throughout the frequency response as the pitch volume and timbre changes of the vocal, now Listen to the stage 1 (analog fx chain) version, we have built a harmonic overtone foundation for the transients to be equal thickness throughout the frequency response as the signal changes in pitch ,volume, and timbre, the sound is more life like 3d as it brings out the natural qualities of the vocal.
Here is the vocal track sample with our fx chain stage 1 . listen closely to the "atomic" level of the sound
https://www.dropbox.com/s/71cfgvwc07g4pc1/leadvox analog ex.flac?dl=0
next we will proceed to build our stage 2 fx chain on the bounced vocal.
First plugin is Slate virtual tape machines 2" tape setting input level is +1.49 db (to kiss the input with the loud parts),Next is waves Puigtec mains off setting 2(this will just barely "kiss" the peaks of loud parts) Next is waves Mixcentric intensity 17.5, Next is Abbey road vinyl turn the noise knob all the way down, rest is default. Last is Waves IMpusher settings input is -2.5 db body 2.6,high 2.0,magic 33.5,Focus right in middle,dyn punch right in middle,push 4 (clip mode),Output is -8.0db , Save your FX chain as Vocal COMP for out stage 2. next bounce the track then A+B compare to original dry track listen to the "atomic" level of the vocal track throughout. Make sure you only have the original dry and the new bounced vocal with analog stage1 and comp stage2 "baked" on the fresh bounced track.
Here is the sample of the vocal track with the stage 1 (analog fx chain) and stage 2 (comp fx chain) Listen closely to the "atomic" level of the sound how the transients are equal throughout the frequency response and it is alive with three dimensionality yet natural and detailed.
https://www.dropbox.com/s/zpi53x6yp27mlgw/leadvox ana COMP ex.flac?dl=0
compare this to the vocal dry track sample as it arrived to us.
We can now use the vocal analog fx chain stage 1 as a template for other tracks with a similar range and the vocal comp fx chain for stage 2 of similar ranged instruments but where we change the order of the plugins and adjust the settings to suit that track (templates only for THIS project we build new from scratch if it was different project band song for example).
Now that we have built up a solid harmonic foundation for the vocals, when we later eq for example or other process , We will still have equal transient "thickness" throughout our frequency response and fluctuations in pitch, volume, and timbre.
Right away when we compare to the dry track, the dry tracks transients or different thickness throughout, For instance the body of the sound is loose where the sss and ttt and kkk part is very tight and fluctuates quickly , the formant of the voice changes in timbre and as the volume changes from softer to louder we have different fluctuations in transients. if we had instead threw a couple plugins like compressor and eq pushed to the max the vocal sound would be effected differently as the track changes in timbre, volume, and transient response.
By dealing with the "atomic" level , building a harmonic foundation, we have ironed out the wrinkles in a natural way, instead of Plastic Fake sounding processed sound of putting a couple plugins on a dry track pushed to the max causing the atomic level to be all over the place.
I think it warrants a long sample of the vocal with demonstration of analog fx chain and comp fx chain
https://www.dropbox.com/s/p7za8g3gu2sz1bd/leadvox ana COMP ex long1.flac?dl=0
Here is a long sample of the dry vocal as it arrived for comparison.
https://www.dropbox.com/s/s25ctaikelhxqh8/leadvox dry long.flac?dl=0
Notice, with those tonal differences, we will eq the vocal in later stage towards the end where it will not effect our harmonic overtone foundation which makes the transients all the same thickness.
Before we continue onward, experiment with your new bounced vocal .What we have done is built a harmonic overtone foundation , just as a a guitar amp does for example, this thickens up the "atomic" detail of the track, experiment with some extreme compression setting,eq slamming hard into tape, tubes etc.or alterations(where you dont save the changes) on the new bounced track and compare that to the same alterations to the dry track and listen closely how different your transient response is.
For the Bass guitar DI and Guitar DI we can use IK multimedia Amplitube ( i happen to own it) hopefuly you have it also or have the ability to get it.

ELECTRIC GUITAR DIRECT INPUT DI
---------------------------------------------

Next we are going to scroll down to 19_elecGtr1DI. we are going to solo it set volume on track to default.We are going to load the plugin IK multimedia Amplitube 4 we can use it for bass and guitar(IF you have to, use another option).First we load soldano amp set knobs noon (50 percent
In bottom right hand corner is Master knob of plugin set to -10.1 db,Next on top click on CAB A select mesa boogie 4x12 traditional, go to each speaker select Brit Vintage 16b for all 4 speakers.Click the second microphone make it Dynamic 57 and put on center of that speaker (will be 2 Dynamic57 in middle of speakers one top left other bottom right speaker) Now we are going to save this fx chain as Guitar inital amp1. we can apply the chain to the next DI pan each 80 percent left and right. then when we take the guitar track already of amps pan them each 100 left and 100 percent right (big stereo field)
We will consider this (amp sim part) creating our sound then we will treat it like we did before, bouncing once we happy with it. building a analog fx chain to build a rich foundation.

 

Last edited: Apr 27, 2017

Is it really a good idea to overwhelm people even by some right knowledge? Your act is like playing gooseberry to the people who love to make music in peace. I suggest you to let your friends keep you company in private discussions instead of bombing out AS publicly by your strong proving gospels or doctrines.

Peace....

 

I once smoked some weed and passed out for a while, I don't know exactly for how long, but I woke up to the feeling of happiness and freedom I never felt before, as I was talking to myself regarding this feeling of complete freedom - I saw something which looked like a gate of some sort. Pretty cliché if you ask me, but soon I was back in the room (this "vision" lasted maybe a brief moment only) I heard the most beautiful music in my whole life to this day. Most people know how weed makes things taste better (like basic potato chips are 5 star restaurant meal) and music to sound so much better, but this sound was from another dimension, because, taddatatdatataaaa - I saw it.

It left me with a lasting impression, but I never could recreate how it looked like. I tried to draw it, but all I could do is some lines going around flowers and furniture. Now before you say I am crazy, or it was some kind of cannabis induced visions, just think about the fact that sound waves exist, but we only can't see them with our eyes - but what if we could? Would they look like those sonic circles which often are used to describe that sound is coming out of this object in cartoons or whatever. Even in scientific documentaries they are portrayed as simple lines basically.. But if we could SEE the music we produce - what it would really look like?

Pretty sure not just some liney circles flying around us from every object which produces sound..

 

Last edited: Apr 26, 2017

MUSIC THEORY COURSE______
--------------------------------------------


I would like to use this space to cover a different area of the SECRETS of MUSIC. a very important one mostly overlooked at times. MUSIC THEORY , ive thought a lot and I think best way is to list these extensive actual classroom videos in full ,by a fantastic teacher.we will now begin MUSIC THEORY
please take your time this is the entire knowledge of music theory all full classroom videos of the entire course.

https://www.youtube.com/watch?v=IIiKQqU4Kvc&t=1179s

https://www.youtube.com/watch?v=o1LBxW077N0&t=596s

https://www.youtube.com/watch?v=Uv0sp-zxax0&t=75s

https://www.youtube.com/watch?v=qpgRMG5Oz1A&t=2054s

https://www.youtube.com/watch?v=5KtSefoO9Xg

https://www.youtube.com/watch?v=TUrHVLu7kPk

https://www.youtube.com/watch?v=CMOAsqsGEag

https://www.youtube.com/watch?v=WRUu8H8OqeA


there is lot more when you get to the last video click on the channel to get all 30 something videos take your time it is life changing i promise!
This is going to give you the ability to take anything in your imagination and bring it to life .

 

Last edited: Apr 27, 2017

@MMJ2017

The first 10 posts of this thread are yours. While there's no rule preventing someone to write such a quantity of posts in the opening thread, this is unheard of in this community at least.

Are you that desperate for people to react to your thread or are you just trolling?

 

In this comment box I would like to put some interesting and Inspiring history and story of music hope you enjoy folks.

https://www.youtube.com/watch?v=YECRoWklQSo

 

Last edited: Apr 28, 2017

@MMJ2017 One month and ten days, two threads, four hundred and twenty-three posts. Think about it! Then go make some music. Oh! If you trying to educate people about music, try the education forum.

 

can someone help me out with what these folks above mean? im new here i dont understand it i tried asking , it wasnt shown to me when i created my profile recently to join the site, why they so mad? what do they mean by what they have said? thank you kindly.

 

"One month and ten days, two threads, four hundred and twenty-three posts. Think about it!"
I have thought about it, now what? what are the implications?( what is my mind supposed to arrive at?) im new here i dont know what that means sir, i haven't seen it other places on the web you cant help me out a new person trying to figure things out around here?

"Oh! If you trying to educate people about music, try the education forum."
that i understand ,what about the other things? thank you.

 

Last edited: Apr 25, 2017

"One month and ten days, two threads, four hundred and twenty-three posts. Think about it!"

people keep talking about the numbers of posts, and different sets of numbers, what does that mean? i dont get it. I know what he numbers mean but i dont know what they mean when they say the numbers to me. is it a type of slang here? If no one tells me what it all means how do they expect me to understand it or do something different? you have a hidden code that new people obviously arent going to know but you wont tell them? im just confused.

these are the events that happened in reality.

I found the website read bunch stuff then joined. I created my profile then a thread. then people said you have to stop that first thread so i did, i created a second thread and i commented in the new thread with information with information inside of comments. this is what has literally happend in reality, what is wrong? what did i do wrong? what is the secret language here? what do the numbers thing means? the words under your name? what is the number of posts mean ? thank you. how do these literal events have to do with the comment below like "trolling" for example?

"
@MMJ2017

The first 10 posts of this thread are yours. While there's no rule preventing someone to write such a quantity of posts in the opening thread, this is unheard of in this community at least.

Are you that desperate for people to react to your thread or are you just trolling?"



troll2
trōl/
verb
gerund or present participle: trolling

1. 1.
   informal
   make a deliberately offensive or provocative online post with the aim of upsetting someone or eliciting an angry response from them.
   "if people are obviously trolling then I'll delete your posts and do my best to ban you"
2. 2.
   fish by trailing a baited line along behind a boat.

I thought trolling would be like coming to this thread and not talking about the topic but trying to make a deliberately offensive or provocative online post with the aim of upsetting someone or eliciting an angry response from them.

what does "trolling" mean here at THIS website? im confused!
am i the troll or is the guy that accused me of being a troll, actually the troll? does troll mean something different than other sites?

i have been many forums across the net for decades i never experienced something like this here, what does it all mean? what is the secret language? what dont people say outright what they mean? why wont they tell the new people what do numbers of threads and posts and comments all mean if they want them to follow something?

 

Last edited: Apr 25, 2017

Ok, got it.
Moderators: How long before he's banned?