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wayfinder posted:Is there something inherently desirable in acquiring that, as Yoozer called it so eloquently, quantum-level electron perfect reproduction? Something that isn't satisfied by the literally hundreds of clones already available? My personal position on this is as follows: - making music is cool - the more people being able to make music, the better - vintage gear is cool. This is partially because of mystique and famous artists who've used the gear in either unconvential ways or because of being a pioneer - vintage gear is also rare and thanks to collectors, prices are way up So far, so obvious: - if I am not able to acquire the original because of sky-high prices, I'll have to do with a replacement, because I want a part of that mystique without raping my wallet - I am willing to accept a 90% perfect emulation for a much lower price and higher convenience - The more perfect the emulation, the better - There is a market for this since Rebirth used to be king of the hill but got hard to integrate/work with, was cramped and small, and didn't score as high in terms of emulation. The day you can let mr. Golden Ears listen to the fake 909 and have him not find a difference is the day you can pack the D16 plugin into something like this here and construct a control panel for it in shape of the TR909, since Roland is obviously not doing that (and isn't going to). Mr. Golden Ears will bitch about fatness and warmth and depth but won't bitch about a knob offering 1.2 Newton more resistance. Result: you've rebuilt a legend. While prices of actual vintage won't drop initially thanks to the DeBeers effect you enable a lot more people to get something out of the machine that hasn't been done before. Ditto for the Minimoog. These things are 40 years old and require maintenance; a perfect-enough emulation means a longer lifespan. I'd love the day that everyone could have one powered by some next-generation Atom CPU or something because it means that people can actually make music with these things instead of having 'm rot away in pristine state in some basement. Is this kind of fetishism pathetic? Yes, of course, but you're dealing with a crowd who'll proudly eschew anything remotely like a microprocessor in a piece of gear because eww, computers, but in the meantime they think a Minimoog through a digital camera's microphone mangled by Youtube's audio compression is good enough to hear fatness and warmth in the sound. Laserjet 4P fucked around with this message at 15:11 on Dec 9, 2008 |
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Dec 9, 2008 15:08
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I feel like this derail has gone on long enough, so I promise this is my last post on the matter. I can understand wanting an equivalent, or even an emulation of a vintage machine. One, maybe two if the first sucks. But at some point, you'd think people can go "close enough!" and be happy - it's not like those machines have specific, unreplacable advantages that are somehow hidden in the exact way a poorly-designed panel resonates, changing the magnetic field effects on the wiring or whatever. I'll just resign myself to not feeling the hype, and not worrying about it either. I'll go put on Solar Quest - Acid Air Raid now 
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Dec 9, 2008 15:56
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Ooh another quick question, someone post a program a while back that stretches sound files crazy amounts, for making soundscapes and such. I know I downloaded but this computer is disorganized as gently caress and I don't know what its called, anyone remember what the name of it is?
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Dec 9, 2008 16:41
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Paul's Extreme Sound Stretch: http://hypermammut.sourceforge.net/paulstretch/ For the people who don't know what it does : well, this. (original: Bob James - Take Me To The Mardi Gras. )
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Dec 9, 2008 17:10
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Is it possible to tell Ableton to repeat a loop at a certain BPM? I was thinking of going the incredibly corny route and opening my next mix with Chopin's Revolutionary Etude, and I don't feel like warping that entire monster so I thought I'd set the tempo at, say, 125 BPM and have it just loop the last chord on every beat once it gets there, so I can bring in some drums under it and mix in the next song. Is there a lazy man's way to do this or will I have to warp the whole song? EDIT: Nvm, I figured it out... Altoidss fucked around with this message at 04:39 on Dec 10, 2008 |
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Dec 10, 2008 01:30
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I Dig Gardening posted:While the rest of your post is spot on and wonderful I have to fully disagree with this quote, its not great advice. I shouldn't say never use reverb, but you have to use it differently than with other instruments. A thick reverb on a bassy sound is really going to turn out bad. However, I've heard of many gated reverbs being used on kicks with great success (and their parameters set correctly). Usually when people want a reverby kick in electronic or dance music, they really want the sound of a longer release. Yoozer posted:You can introduce slight variations by automating parameters (you don't have to use several samples). Is that the Novation DrumStation? I had a chance to pick one of those up for like $200. I hear it makes some really solid 909 kicks. PRADA SLUT fucked around with this message at 03:51 on Dec 10, 2008 |
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Dec 10, 2008 03:45
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. There's a dozen lovely SynthEdit creations using 1994 samples in mono from Hyperreal.
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Yoozer posted:Good software vocoding is apparently hard and expensive. Can't argue with that, although Waves and NI have both had pretty good vocoder plugins for years. As far as Live goes, I think for Live 8 they need to first and foremost get fix the long-standing limitations of not being able to record automation into clip view, and only being able to automate 128 VST parameters.
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Dec 11, 2008 07:49
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I'm in the market for a good, cheap, midi keyboard. I'm thinking about the Axiom25. Is there a better bang-for-the-buck keyboard though? I'm looking for something small and compact around $150 at most with no more than 25 keys.
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Dec 11, 2008 08:32
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h_double posted:Can't argue with that, although Waves and NI have both had pretty good vocoder plugins for years. Want a great vocoder plugin that'll sell like goddamn hotcakes? Make something that has 2 dozen presets that you call Mr. Blue Sky, Mr. Roboto, Around The World, Radio Gaga, and so on. You get the idea. Make sure these presets match the originals for 95%. The world will beat a path to your door. quote:As far as Live goes, I think for Live 8 they need to first and foremost get fix the long-standing limitations of not being able to record automation into clip view, and only being able to automate 128 VST parameters. I'd love if they'd start to use OpenGL or D3D for the clips and curves so you could zoom in and out really really fast. Also, they haven't done much with cycling'74 yet. Here's hoping they show something nice at the Musik Messe.
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Dec 11, 2008 08:41
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Aw man, a wishlist for live 8: -more than 128 parameters -curved breakpoints (unless i'm missing something, i haven't figured out how to do it and ffs flstudio does it easily) -DUAL MONITORS SUPPORT AAAAAAAAAAAAH (didn't realize there was none, when i finally upgraded to a desktop and got two monitors for some reason i assumed i'd be able to put the session view in one monitor and clip view in the other....nnnnnnnnope)
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Dec 11, 2008 08:45
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First, two stupid questions about Ableton Live that somehow I'm so dumb I can't figure them out (I just started learning about the program): 1- How do you stretch samples in Sampler to make them match the tempo of the song? I don't know how to use any of those "pitch" and so on tabs that you see on it, even though I'd love to learn to use Sampler properly. Any tutorial for it? 2- How do I "draw" clips in the session view? I mean, imagine I've got the clips composed and I just want to "draw" the percussive clips for 20 bars... until now what I used to do is use the record mode while playing the clips, then stop the recording and just "extend" each clip in the session view, or copy-paste the clips in the session view and then extend it. But I think there has to be an easier way, damnit! Now, my serious questions: I recently bought a Microkorg, my first hardware synth (yeah I guess it's a pretty common thing), because I had tried quite some VSTi synths before, but I just felt like if they lacked "something". I thought that most of the time they sounded a bit too cold for me, and I wanted a warmer sound (take the synth intro of this song as an example: http://www.youtube.com/watch?v=KpQ8MJvKkKk I thought I could never achieve that sound on an VSTi). OK si I spent my money on a Microkorg, got it and started tweaking it... but most of the time I don't really get anything worthwile out of it, not at least something that is that different from VSTi. Is it because as I read, it's a digital analog emulation synth, and not a true analog one? On the other hand, I've read quite some bands use it and listening to their songs, they do get interesting sounds out of it, so I guess the more reasonable explanation is that I don't know poo poo about synthesis and most of my tweaking is randomly done (with VSTis I just used some presets and maybe changed a parameter or two, but I've never known how to build a sound from scratch). I'm usually quite busy on weekdays, so when I've got the chance to spend some time on the microkorg, it's usually just 30 minutes or an hour at most, so I can't get really deep with it. Looking in websites I got "Try reading a lot about substractive synthesis" as an advice, but after downloading the ARP 2006 manual and tried reading it I didn't get too much out of it, so: 3- Any tutorials/reading/tricks recommended at a beginner level to try to get my Microkorg on it's feet? 4- I like distorted basslines and tried to recreate one of them using the bass presets in the Microkorg (like for example, the one in this song http://www.youtube.com/watch?v=l7t20kwobGs or in Digitalism tracks, etc), but the synth's distortion doesn't sound that convincing to me, nor does VST distortion. Do you think buying a distortion pedal and running the microkorg through it would be a good idea? And in that case, which pedal do you recommend? I just don't want to spend 70 or more euros on a pedal to find that it doesn't sound as I want (I don't know if this question would be better in the Sound design thread or whatever, sorry). Thanks a lot.
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Dec 11, 2008 12:55
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KaosPV posted:First, two stupid questions about Ableton Live that somehow I'm so dumb I can't figure them out (I just started learning about the program): quote:Do you think buying a distortion pedal and running the microkorg through it would be a good idea? edit: now at home and able to listen! KaosPV posted:I thought that most of the time they sounded a bit too cold for me, and I wanted a warmer sound (take the synth intro of this song as an example: http://www.youtube.com/watch?v=KpQ8MJvKkKk I thought I could never achieve that sound on an VSTi). One trick is to use a slow random waveform-LFO on the pitch of the oscillator. Add a bit of subtle distortion. Don't use a pure 50/50 squarewave but (again, LFOs can come in helpful in here) Vary the filter resonance amount (not the cutoff!) Vary the filter keyboard tracking (don't put it to 100%) The sound, for the rest, is merely routing a stepsequencer to the filter. quote:Is it because as I read, it's a digital analog emulation synth, and not a true analog one? quote:3- Any tutorials/reading/tricks recommended at a beginner level to try to get my Microkorg on it's feet? quote:but the synth's distortion doesn't sound that convincing to me, nor does VST distortion. That's mostly to blame on the source material. All these Justice-esque bands either come from or use a guitar-like background; e.g. sample a bit of guitar, loop that sample quickly, and then throw distortion over it. Gives you more variation than regular synth waveforms. Laserjet 4P fucked around with this message at 21:27 on Dec 11, 2008 |
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Dec 11, 2008 16:08
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I have a specific question about using Logic. How do I bus out a specific drum noise in ultrabeat (like the kick) to an auxiliary channel? I've tried going kick out->bus 17->new aux channel-> input= bus17 but nothing plays through it when I hit the kick. here's what the manual tells me: manual posted:Ultrabeat features eight separate stereo and mono outputs, and can be inserted as a e: I figured it out. You have to use a multi-out ultrabeat. A MIRACLE fucked around with this message at 17:13 on Dec 11, 2008 |
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Dec 11, 2008 16:59
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So my Focusrite Saffire just started hissing on the output recently for no apparent reason -- I get low level white noise now from all the outputs. Any ideas/fixes?
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Dec 12, 2008 03:24
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Does logic have some magic plugin that automates automation? I want an instrument to auto-pan 100% between right and left channels every 8th note. And could I side chain it to another auto-panner? Like, a kick drum every 8th note, panning right and left, and an ESM note every 16th, panning the opposite of the kick, and also compressed by the kick. Also there are two different alternating kick sounds, if that makes any difference. I've been doing this by hand and it takes too long. Appreciate any help.
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Dec 12, 2008 05:39
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A MIRACLE posted:Does logic have some magic plugin that automates automation? I want an instrument to auto-pan 100% between right and left channels every 8th note. And could I side chain it to another auto-panner? Like, a kick drum every 8th note, panning right and left, and an ESM note every 16th, panning the opposite of the kick, and also compressed by the kick. Also there are two different alternating kick sounds, if that makes any difference. I've been doing this by hand and it takes too long. Appreciate any help. Maybe it can be done with a rotary speaker? Not 100% sure it'll keep the tone though.
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Dec 12, 2008 05:48
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IanTheM posted:Maybe it can be done with a rotary speaker? Not 100% sure it'll keep the tone though. If you can get guitar rig 3, you can modulate any effect at any interval or any number of effect parameters. Dont know about logic.
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Dec 12, 2008 07:35
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Yoozer posted:You don't. Sampler only pitches up and down. If you want to stretch, you need to use an audio track. So if I've understood it, I have to first load the sample in an Audio Track, stretch it to match the tempo, and then load it in the Sampler tool to muck with it right? Also, I hosed up in my previous message my other question: I wanted to ask how to draw bars in the ARRANGEMENT (not session) view. How do i do it? (I'm dumb, I know) quote:Not without testing it, so either get the music store to hook it up or take your own MicroKorg with you. Yes, it's just that I find it a bit cumbersome to go around stores with the synth, so I wanted to know if anyone had had any experience with the instrument and distortion pedals. quote:edit: now at home and able to listen! I'm writing all of this down and trying it as soon as I have some spare time. Also, what is routing the stepsequencer to the filter exactly used for? quote:If you were expecting an actual analog synth you should've done your homework better, and even then, if you just start out, analog synth fetishism (mostly the endless discussions about it) are a pretty useless endeavour. Even with those, you need the above tricks; it's just that they tend to work better (or worse since you won't have that many LFO's). Nah, I'm not an analog fetishist, I just get a little paranoid by reading all of the actual fetishists who post on the internet and wondering "woah what if I wasted my money"? I considered waiting for some time and saving money to get a better synth, but I didn't buy the Korg to get a true analog, in fact what convinced me was that it's quite portable and I may move abroad for a few months (so I didn't want to spend serious money on a synth I couldn't carry with me). quote:Yes. The only parts it won't teach you about are the MicroKorg's extra waveforms in the oscillators - the DWGS ones. These simply sound different from the vanilla saw/square/tri stuff that's in the tutorial. Awesome, thanks. quote:That's mostly to blame on the source material. All these Justice-esque bands either come from or use a guitar-like background; e.g. sample a bit of guitar, loop that sample quickly, and then throw distortion over it. Gives you more variation than regular synth waveforms. Nice, I'm learning to play guitar too, I'll try to sample it and see what comes out. Thanks a lot for your help, seriously, you give very good advice. Some examples of the stuff I've played with so far:  This was done with a friend of mine on bass, me doing the base and playing guitar (a few power chords, but still). It's a bit monotone, but I thought about using it as an intro. Alas, I don't rehersal with my friend anymore (also I think he had some difficulty in playing bass to an electronic beat and seemed to sometimes play offbeat).  This was me alone messing up with synths and arpeggiators. I wanted to get more of an 80's sound, and less of the cheap electro-house one I got, though   This was me doing a cover of "Quiero ser tu perro" by Paralisis Permanente, which in turn is a cover of the Stooges and their "I wanna be your dog" (I know, I couldn't have picked up a more played out song... but I wanted something with an easy guitar part to learn and mix in with an electronic base). I dislike the fact that I went over the roof with the resonance of the synth at some point of the track, and that maybe the guitar can't be heard in most of the song. Also I think all of the three songs sound a bit muddy. Guess I need to learn to EQ.
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Dec 12, 2008 13:18
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KaosPV posted:Also, I hosed up in my previous message my other question: I wanted to ask how to draw bars in the ARRANGEMENT (not session) view. How do i do it? (I'm dumb, I know) You're doing it right. Either copy/paste from clip view, or record a snippet from clip view, and then extend the clip out to the proper length. Since you can have multiple clips on the same track, there would be no way for the draw tool to magically know which one to insert. mezzir posted:-curved breakpoints (unless i'm missing something, i haven't figured out how to do it and ffs flstudio does it easily) Yes, this too, every other major sequencer has had this for 15+ years. h_double fucked around with this message at 14:23 on Dec 12, 2008 |
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Dec 12, 2008 14:21
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KaosPV posted:Also, I hosed up in my previous message my other question: I wanted to ask how to draw bars in the ARRANGEMENT (not session) view. How do i do it? (I'm dumb, I know) quote:Yes, it's just that I find it a bit cumbersome to go around stores with the synth, so I wanted to know if anyone had had any experience with the instrument and distortion pedals. quote:Also, what is routing the stepsequencer to the filter exactly used for? quote:I considered waiting for some time and saving money to get a better synth, but I didn't buy the Korg to get a true analog, in fact what convinced me was that it's quite portable and I may move abroad for a few months (so I didn't want to spend serious money on a synth I couldn't carry with me).  . I'll check out your tracks when I get home again.
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Dec 12, 2008 17:23
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Looking to pick up a new USB sound card, and the M-Audio Fasttrack Pro is at the top of my list right now... anyone have any experience with this interface? Basically I just need two stereo outputs (for the odd DJ gig where I don't have Traktor Scratch Pro handy), fairly low latency with ASIO, and I occasionally record some vocals. Sound quality on the outputs is important, but don't really need amazing preamps or anything. Any other suggestions in the ~150-200 range?
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Dec 13, 2008 06:55
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Merkin Muffley posted:Do you have preset 10 selected on your axiom? Did both those things, but when I touch the pads with another instrument selected, that instrument's tone plays as well as the Redrum sample. How do I keep the pads from being read as notes, I guess I should ask.
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Dec 13, 2008 15:27
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I think I like using layered samplers instead of synthesizers a lot: The only synthesizer on this track so far is the sireny thing. I'll likely wind up adding more, but the point stands. Although I guess I did sample my EMX for the lowend of the generic bass thing so that's kind of a synthesizer.  I really need a pair of monitors.
nah thanks fucked around with this message at 23:58 on Dec 13, 2008 |
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Dec 13, 2008 23:50
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wayfinder posted:I feel like this derail has gone on long enough, so I promise this is my last post on the matter. I can understand wanting an equivalent, or even an emulation of a vintage machine. One, maybe two if the first sucks. But at some point, you'd think people can go "close enough!" and be happy - it's not like those machines have specific, unreplacable advantages that are somehow hidden in the exact way a poorly-designed panel resonates, changing the magnetic field effects on the wiring or whatever. I'll just resign myself to not feeling the hype, and not worrying about it either. I would say that those who enjoy acid and are die hard fans of it, feel that the genre has survived this long based largely on timbre. All of the x0x machines have very, very distinct timbre's and characteristic quirks that people just really get captivated by. People really do feel that they have specific unreplacable advantages. Even now I don't think any of the emulations come all that close (I don't think there are even any attempts at 606, 707, 101, or 202 emulation either!). Right or wrong it's actually an artistic point of view. In the same way that some painters still insist on mixing their own paints with very specific ingredients, for example. It's a statement of purity and purpose of the underlying sound(paint, ingredient, whathaveyou). I also think people gain a level of "confidence" with it. Some people will subconsciously never be ok with just running a simple acid line from Audiorealism Bassline with no fx added, because they know it isn't "real". No matter if people wouldn't be able to tell the difference or not, they KNOW it, and therefor that knowledge gets in the way of unfettered creativity. Whether or not this is silly to others doesn't really matter, it's just a choice they have made with regards to their art. Plus I really want a 202 so I can slave it to my x0xbox and run its second sequencer CV outs to my dotcom modular for ultimate analog acid attack. Tough to do that with an emulator (trying to do x0x slides with MIDI/CV conversion is just plain frustrating).
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Dec 14, 2008 05:49
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Are there any free synth VST's that allow me to map stuff to my midi controller? I want to be able to change knobs and things on my controller instead of having to use my mouse. I'm am using Live....so unless I am doing something wrong are there any out there?
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Dec 14, 2008 06:21
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A lot do if you right click a knob, or have some other way of doing it. But if the plugin doesn't allow you to do it, you can MIDI map any of the first 128 parameters using Live. Hit the little arrow between the power button and the wrench and then turn MIDI map mode on.
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Dec 14, 2008 06:53
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toadee posted:(I don't think there are even any attempts at 606, 707, 101, or 202 emulation either!). ADM (Audiorealism Drum Machine) has a 606 emulation, as well as some pretty solid 808 and 909 generators. There's a freeware 101 emulator softsynth that's a few years old, but I haven't really played with it much (it didn't at all impress me). I don't know of any attempts at 202 emulation offhand. I'm not sure why anybody would want to emulate a 707, since the best part of it was the hardware interface (built-in MIDI, the beat grid, individual volume controls and individual channel outs); half of the sounds were pretty generic and the other half (hats, cymbals, claps) are the exact same samples as the 909. h_double fucked around with this message at 07:11 on Dec 14, 2008 |
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Dec 14, 2008 06:59
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Fists Up posted:Are there any free synth VST's that allow me to map stuff to my midi controller? I want to be able to change knobs and things on my controller instead of having to use my mouse. You do this with Live itself. There's a lesson about mapping MIDI controls to specific things, under manual mapping or something like that. Basically you go into MIDI mapping mode, select the thing you want to assign to a knob or slider or whatever, then move the control so Live knows what input to look for.
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Dec 14, 2008 07:46
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Lynx Winters posted:You do this with Live itself. There's a lesson about mapping MIDI controls to specific things, under manual mapping or something like that. Basically you go into MIDI mapping mode, select the thing you want to assign to a knob or slider or whatever, then move the control so Live knows what input to look for. I'll give it another go but it wasnt working for my VST's. Only for things that are on the actual live interface.
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Dec 14, 2008 07:53
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h_double posted:There's a freeware 101 emulator softsynth that's a few years old, but I haven't really played with it much (it didn't at all impress me). I don't know of any attempts at 202 emulation offhand. That 101 really doesn't sound much like a 101 at all. A 202 emulator would also be a little weird, because it sounds just like a 101, so all you would be emulating is its... quirky programming interface... The 707 though, some people are very into its bd/sd/toms, I'm not one of them but was just mentioning it up there for posterity. Thanks for the tip on ADM though, I just bought it!
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Dec 14, 2008 07:54
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Fists Up posted:I'll give it another go but it wasnt working for my VST's. Only for things that are on the actual live interface. You have to map it from the bottom bar, not the VST interface.
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Dec 14, 2008 12:30
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wayfinder posted:Can anyone explain to me the obsession with getting the absolutely perfect 909 and 808 and 303 emulation? I've never understood it. because making anything new is hard, so spergin' over poo poo like this takes precedence. I think the people should stop diggin' into this poo poo.
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Dec 16, 2008 09:53
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Threatis posted:because making anything new is hard, so spergin' over poo poo like this takes precedence. Like I said it's a unique timbre, which is just as much a part of the music as the melody or rhythm. Some very creative music has recently been released during the "acid revival" (AFX's Analord series, EOD's EAP series, Ace of Club's first album, The Doubtful Guest...etc etc). It's not spergin' it's like the musical equivalent of a new Mini, combining old and new.
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Dec 16, 2008 14:40
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I don't see how obsessing over 303/808/909 sounds is any difference whatsoever from guitarists obsessing over boutique fuzz pedals, or a genre like surf rock where it's all about getting a vintage tone and a particular retro flavor. It's partly about history and a particular aesthetic, and with the 808 especially it's also because it's so versatile and fits into a mix so nicely in anything from hip-hop to techno/house/electro/trance to pop. h_double fucked around with this message at 19:26 on Dec 16, 2008 |
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Dec 16, 2008 19:24
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I'm trying to decide whether I'll need sliders on my controller or not. What can they do that knobs can't? The only thing I can think of is cutting out three or more sliders at the same time, and then slamming them back up. Or that DJ thing where you cut between two simultaneous tracks.
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Dec 16, 2008 19:36
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Mannex posted:I'm trying to decide whether I'll need sliders on my controller or not. What can they do that knobs can't? The only thing I can think of is cutting out three or more sliders at the same time, and then slamming them back up. Or that DJ thing where you cut between two simultaneous tracks. It's easier to look at a slider and instantly know what value that the parameter it controls is set to. Also, like you said, it's easier to move them in a gang than it is with knobs. Re: 303/808/909 emulations: One thing that is kind of nice about those things is that it kind of gives you a creative shortcut towards what kind of music you're working on. It kind of allows you to skip over the 'what kind of music should I make' question (because, duh, if you got a 909 and a 303 you're going to make acid house/techno) and get to the actual music making part. Having closed off parameters can be kind of liberating in ways that having a blank slate isn't.
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Dec 16, 2008 19:59
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Mannex posted:I'm trying to decide whether I'll need sliders on my controller or not. What can they do that knobs can't? The only thing I can think of is cutting out three or more sliders at the same time, and then slamming them back up. Or that DJ thing where you cut between two simultaneous tracks. I find it a lot easier to move sliders quickly on my controllers than the knobs. My knobs are very stiff (  ) and good for moving a few clicks one way or doing it slowly.
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Dec 17, 2008 07:09
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The 808/909 sound is just like the 57+Marshall sound in rock. It's basically a staple sound of the genre. If you hear a 909 kick, you instantly think electronic, just like if you hear a chord through a 57+Marshall stack, you think rock. People who tirelessly try for that "perfect" kick, are kind of like the people who need that "perfect" guitar or "perfect" bass. The only difference being that there's a lot more sound sculpting in a kick. Newer music isn't very reliant on the 808/909 and leaves room for experimentation, but it still serves as a point of reference. Every electronic kick that gets created is going to be compared to the 808/909, and if you don't have that 909 reminiscent tone and you're making something like trance, you might as well go home. Imagine if you had a metal band chugging away power chords which sounded nothing like the 57+Marshall sound, like they're running through a 60's Surf Rock amp. It'd completely throw you off. In time, the 909 kick sound will warp, just like how say, White Lies sounds a hell of a lot different than the squishy kicks of 15 years ago. tylertfb posted:Your avatar reminds me of Goatse. PRADA SLUT fucked around with this message at 12:40 on Dec 17, 2008 |
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Dec 17, 2008 12:35
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Kai was taken posted:Every kick that gets created is going to be compared to the 909, and if you don't have that 909 reminiscent tone and you're making something like trance, you might as well go home.  That sounds interesting, how about 808 bassdrums? Where can you go home without those?
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Dec 17, 2008 12:40
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wayfinder posted:
ALL SORTS OF FUN PLACES JUST CLOSE YOUR EYES AND OPEN YOUR HEART
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Dec 17, 2008 12:41
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