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Yoozer posted:Correct; but the engine does not matter, in this case. Yah but it doesn't sound the same, and the process by which you get there isn't the same. To me that makes it completely different.
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Mar 4, 2009 11:57
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Slightly off-topic... I make entirely electronic music, but I'm working on something at the moment that is itching for a live performed drum track. Since it doesn't need to be professional quality, would it be worth starting a thread here in ML where any drummer goons can record their own drum track, with a small prize for the one I like the best?
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Mar 4, 2009 12:55
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It's been done before and worked out ok. Also, have you heard of addictive drums? http://www.xlnaudio.com/ It's quite in depth and can sound incredible with due care. If it was programmed well you'd have a hard time telling the difference.
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Mar 4, 2009 13:39
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I've been playing around with the GrooveMonkee drum tracks, which are MIDI drum tracks played by live drummers. I'm using them with Battery, but they also come with presets for EZDrummer, BFD, etc. There's a pretty generous free sample pack on their website.
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Mar 4, 2009 15:51
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Is there any practical difference soundwise between an FM synth and a Subtractive synth. The way you go about working on it is different sure, but is there anything an FM synth would be different or "better" at soundwise?
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Mar 4, 2009 16:36
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Three Red Lights posted:Is there any practical difference soundwise between an FM synth and a Subtractive synth. The way you go about working on it is different sure, but is there anything an FM synth would be different or "better" at soundwise? Yes, brass and metallic noises most notably. Overall though, the character of the sound is intrinsically "different". Even in similar bass patches, an FM and a subtractive synth "doing the same thing" will sound characteristically different.
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Mar 4, 2009 16:41
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h_double posted:That's a little bit like saying "painting portraits is boring, you're limited to just faces" -- but yet within that one simple subject you can have everything from Rembrandt to Picasso to Warhol. Yes, you are quite right about what you're saying. It was merely an attempt at showing how much more freedom you have as an EDM producer compared to a rock producer. What I was trying to say was that as a rock producer you have to make the best with what you've been given, whereas as an EDM producer you can make the best with what you've chosen.
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Mar 4, 2009 16:46
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Three Red Lights posted:Is there any practical difference soundwise between an FM synth and a Subtractive synth. The way you go about working on it is different sure, but is there anything an FM synth would be different or "better" at soundwise? That's tough to say as an absolute (since "subtractive synthesis" can include everything from analog oscillators to sample playback), but FM synths tend to be particularly good at metallic/bright/"pure"/bell-like/ring modulator-y tones in a way that's not easy to replicate by carving out tones with filters and envelopes. Go youtube some DX7 demos and you'll probably get a sense of what I mean.
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Mar 4, 2009 16:48
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Three Red Lights posted:is there anything an FM synth would be different or "better" at soundwise? Audio demo: http://www.theheartcore.com/music/hypra-rom.mp3 Presets in this order: Backline 1, Backline 3, C.Bass, CP 80b, PPG Vol. 5, OCEAN BAY, Wurlitzer, Synclav. 3 Effects added : Only Ableton's own Chorus/Ping-Pong Delay/Reverb (and not even all at the same time). Bonus points if you can recognize the first snippet. The Hypra-ROM cartridge is a rare special cartridge for the DX7 which has 3 switches on top - 1 from A-D, 1 from 1-4, 1 with Alpha and Beta, resulting in 4 x 2 x 4 banks - which means 32 x 32 = 1024 presets for the DX7. The preset names lack any kind of actual consistency, which leads me to believe that these have been gathered from several sources. Anyway, here's all the banks dumped as System Exclusive (SysEx) files. The zip file also contains a concatenated SysEx dump, which means you can import them in one fell swoop into FM8. Enjoy! http://www.theheartcore.com/zip/hypra-rom-all.zip
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Mar 4, 2009 16:58
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Yoozer posted:Anyway, here's all the banks dumped as System Exclusive (SysEx) files. SC-SC-SCORE! Wow, thanks!
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Mar 4, 2009 17:10
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h_double posted:I've been playing around with the GrooveMonkee drum tracks, which are MIDI drum tracks played by live drummers. I'm using them with Battery, but they also come with presets for EZDrummer, BFD, etc. There's a pretty generous free sample pack on their website. cubicle gangster posted:It's been done before and worked out ok.  My problem is I have difficulty getting things to sound "realistic" when I need to because it's usually not important in the style of music I like to make. I also don't know anything about live drumming so I'd get likely get much better results from a real drummer than I would from programming it myself. Here's the track I'm working on with some drums I whipped up with the GrooveMonkee midi tracks and one of the Reason factory drum kits. I'm trying to get it to sound something like The Go Team I suppose.  The drums come in at 1:16 and 2:41. Thoughts?
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Mar 4, 2009 18:03
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Yoozer posted:Here's a little demo I've made for the Hypra-Rom cartridge. Y'know, I've always thought every demo I've heard of Ableon+Operator had a weirdly "clean" sound to it. I guess that explains it if thats just what FM synthesis sounds like.
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Mar 5, 2009 02:23
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Yoozer posted:Here's a little demo I've made for the Hypra-Rom cartridge. Was the first bit of that a deliberate Cylob cover? Some nice sounds in there
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Mar 5, 2009 02:28
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Cylob? No, it was Squarepusher - TommiB from Go Plastic.
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Mar 5, 2009 07:32
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Yoozer posted:Cylob? No, it was Squarepusher - TommiB from Go Plastic. Err, duh... was half asleep earlier. For some reason I had thought it was something off of Cylobian Sunset
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Mar 5, 2009 07:44
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I know you all hate this poo poo: The synth at the begining of white knight 2: http://video.google.com/videosearch...=N&hl=en&tab=wv I can't put my finger on precisely how that sound is made. Anyone have any suggestions? I'm having trouble even coming close...  Help is appreciated greatly as always.
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Mar 6, 2009 01:25
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Just do some kind of sawtooth wave, quick attack and decay with no sustain, and have a very fast (low attack time) envelope modulating the low pass filter. Set the initial cutoff about 1/4 of the way I would say, with a little bit of resonance. Then run it through a tempo sync'd delay. At least I think that'll do it, I'm at work so I really have no idea, but I suspect that will sound close.
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Mar 6, 2009 01:28
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toadee posted:Just do some kind of sawtooth wave, quick attack and decay with no sustain, and have a very fast (low attack time) envelope modulating the low pass filter. Set the initial cutoff about 1/4 of the way I would say, with a little bit of resonance. Then run it through a tempo sync'd delay. Okay that seems really simple, I'll try it out. Thanks for the advice!
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Mar 6, 2009 01:32
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help i have no idea what to do with this track what am i doing aaaaaaaaaaaaaa
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Mar 6, 2009 06:12
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Stux posted:help i have no idea what to do with this track what am i doing aaaaaaaaaaaaaa Needs some samples from random 50's documentaries.
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Mar 6, 2009 06:46
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Stux posted:help i have no idea what to do with this track what am i doing aaaaaaaaaaaaaa maybe some key modulations? or something to move it along...the drums are really cool but after a while everything is the same.
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Mar 6, 2009 07:50
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Yoozer posted:Anyway, here's all the banks dumped as System Exclusive (SysEx) files. Some very nice sounds in there, about to try 'em out on FM8, thanks for the upload Yoozer. 
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Mar 7, 2009 02:29
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How do you guys like to color code your ableton sets? I've been looking for a good system and am curious to what others do.
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Mar 7, 2009 18:54
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All continious audio tracks of a single type e.g vocals become one colour group, say shades of yellow or something. Looped clips and midi clips get multicoloured randomly as they're going to get moved around a lot and its helpful to be able to look at one part and differentiate it from its neighbor. e: In other words colour by song section, not instrument. So if you've got a bunch of clips you want to come in together and play for 8 bars as your "chorus" you make all instruments in that section blue or something. Then when if when arranging you decide you want the synth part form het chorus to also be played elsewhere in the song it will still be blue and you'll know at a glance what it used to be and why you moved it.  massive spider fucked around with this message at 22:01 on Mar 7, 2009 |
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Mar 7, 2009 21:46
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Hey guys, just thought I'd tell you all there is a live stream up from Trance Energy 2009. Listen here: http://80.86.89.188:8888/listen.pls Looks like the server is pretty full, I'm having trouble reconnecting myself. The schedule can be found below. Schedule (+11? hours from PST, +8 from EST - I think.) Jeff-E warm-up // 21:00 Tydi // 22:00 John O’Callaghan // 23:00 Armin van Buuren // 00:30 Paul van Dyk // 02:30 Marcel Woods // 04:30 Fausto // 06:00 End // 07:00 SynthesizerKaiser fucked around with this message at 01:09 on Mar 8, 2009 |
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Mar 7, 2009 23:17
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Anacostia posted:How do you guys like to color code your ableton sets? I've been looking for a good system and am curious to what others do. Things stay the color they are when they are created (random) except when I make a copy of a loop/sample/etc for the sole purpose of copying and altering it, in which case I'll change the color. At random.
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Mar 8, 2009 00:45
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I like to use lighter/cold colours for higher pitched/light noises/loops, and dark/warm colours for bassier and darker ones. No reason other than finding some small amount of satisfaction in comparing colour to sound though, and I dont think it helps much because I name my stems anyway.
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Mar 8, 2009 03:28
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I just color code things by shade. EG, a lead will be green or whatever. Variations of that lead will be lighter or darker or whatever, depending. Although, for some reason, I usually use the reds and brown for the drums.
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Mar 8, 2009 09:40
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I'd like to see a coloring algorithm that'd give parts their colors according to frequency spectrum or something. It'd be OCD as gently caress, though.
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Mar 8, 2009 13:00
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I made some music again, anybody got any comments? http://yfinder.de/prev/wayfinder_-_don%27t_cry.mp3
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Mar 8, 2009 13:20
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colonp fucked around with this message at 17:24 on Mar 8, 2014 |
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Mar 8, 2009 14:10
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Kai was taken posted:EG, a lead will be green or whatever. Variations of that lead will be lighter or darker or whatever, depending. I usually make the drums brown too. Bass is always orange. Guitars usually green. Any light floaty synth parts are purple. Horns/organ are usually yellow.
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Mar 8, 2009 18:25
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colonp posted:Really nice sounds you got there.
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Mar 8, 2009 22:10
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This is in a slightly different direction for your thread, but I'm just getting into mixing and mastering some poppy new wave tracks for an album and am a little lost going into the mixing/mastering stage. I'm sort of torn between the really focused, clarion sound of stuff like wayfinder just posted - just the discreteness of all the elements - with the kind of reverby, high-gain noisy punk rock stuff that a lot of the songs start out as in my head. No vocals, but they'd be along the same vein as the melodic leads. Any suggestions on where to go from here? this one's entirely electronic, iirc and this one's got a couple live instruments, mainly a sorta DFA1979ish bass
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Mar 9, 2009 03:05
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colonp fucked around with this message at 17:24 on Mar 8, 2014 |
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Mar 9, 2009 17:37
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I've been wondering about that too, I've been drooling over a Lemur for a while now. I'm going to shoot an email to a Canadian dealer now to see if they have stock. While I'd have nothing against an updated controller, buying obsolete equipment isn't my favourite thing ever.
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Mar 9, 2009 20:43
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Three Red Lights posted:Y'know, I've always thought every demo I've heard of Ableon+Operator had a weirdly "clean" sound to it. I guess that explains it if thats just what FM synthesis sounds like. Go back and listen to the original arcade version of Double Dragon. It's basically entirely FM synthesis for all for the sounds and music. All FM (and quite brilliant for composition) http://www.youtube.com/watch?v=DeuTfngZ3Dc&fmt=18 Halo fucked around with this message at 17:03 on Mar 10, 2009 |
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Mar 10, 2009 16:58
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Halo posted:Go back and listen to the original arcade version of Double Dragon. It's basically entirely FM synthesis for all for the sounds and music. That's a (Yamaha) YM2151 chip providing the music, an 8-voice 4-operator single chip FM synth that was also used for the music of most of the classic mid-1980s Atari arcade games (Marble Madness, Gauntlet, Stun Runner, 720, etc.). The "insert quarter" bell chime those games used is a perfect nutshell example of why FM sounds so cool. (also seconding whoever's request earlier for some pointers to good FM tutorials or book recommendations. Native Instruments has a couple of short but decent FM7 tutorials on their site (you need a registered NI account to view them), but it just barely scratches the surface of how operator modulation works -- I'd love to see a more detailed discussion of building specific timbres, envelopes, etc.) h_double fucked around with this message at 17:59 on Mar 10, 2009 |
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Mar 10, 2009 17:52
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http://www.sonicstate.com/articles/article.cfm?id=148 Watch this if fm is magic to you. It helps lots. Smack yourself in the face if it starts becoming hard to understand. Then, remind yourself its only 8 minutes and you should watch it 3 times. Finally, download the pdf below the video for extra information about ratios. The ratio you use based on the main operator is how you get your overtones and changes to pitch and "filter" and envelop settings. Not a filter really. Watch and see. Good video part two should be out soonish.
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Mar 10, 2009 18:19
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Three Red Lights posted:All continious audio tracks of a single type e.g vocals become one colour group, say shades of yellow or something. Looped clips and midi clips get multicoloured randomly as they're going to get moved around a lot and its helpful to be able to look at one part and differentiate it from its neighbor. I like this a lot better than what I usually do, poo poo. I'm usually just dark blue for kick, red for snare, yellow for hats, blue for bass, neons for leads, etc.
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Mar 10, 2009 19:55
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