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Rageaholic Monkey posted:Well I had this problem all throughout 2013 and I'm still having it to this day, so I guess I'm just in a slump. I have all these ideas up in the old noggin, but I feel like EQing will be the death of them. I've tried tweaking monitoring positions and I feel like that helps for some issues but not for others. Hopefully I can get out of this hole someday. You could, you know, always get someone else to do your mix for you.
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Apr 11, 2014 06:29
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Sizone posted:You could, you know, always get someone else to do your mix for you. I use Reason primarily and have since I first started producing years ago, and no one else I know uses it. But I've got Ableton too and I mess around in there every so often.
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Apr 11, 2014 06:35
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Rageaholic Monkey posted:Yeah, but the only friend of mine who has a legit studio uses FL, and fuuuuuuuuuck that. Maybe he's got Ableton too though. I haven't used that in a while but I would if it means he could tweak my mixes and make 'em pop. Nothing really preventing you from exporting each track as an individual audio file. Just 'cause you make your poo poo in reason doesn't mean it needs to stay in it.
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Apr 11, 2014 06:40
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Sizone posted:Nothing really preventing you from exporting each track as an individual audio file. Just 'cause you make your poo poo in reason doesn't mean it needs to stay in it. Unless all that info gets exported as well... (I'm assuming it doesn't but I don't know because I've never tried it before)
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Apr 11, 2014 06:44
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Rageaholic Monkey posted:That's true. I sequence it all in Reason too, though, and have different effects in Reason getting enabled/disabled at different times for different tracks and such. I suppose I could export individual tracks, import 'em into a different DAW and find equivalent solutions in that DAW, but that would take a lot of time and may not turn out quite the way it did in Reason. Brute force method would be to just solo the tracks one at a time and record them. But I'm pretty sure there's an elegant and relatively simple way to export audio tracks and retain the applied effects. "Importing" the resultant audio is just a matter of opening daw of your choice and dragging them all onto empty tracks. Doesn't even need to be done in a daw, really. You could, theoretically, find someone, or some studio, with a mixer.
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Apr 11, 2014 06:58
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Radiapathy posted:Sample library controversy: A company called Binary Music just released a Kontakt library that's basically just the entire bank of original D-50 presets (for only $23!). quote:Roland's copyrighted work http://www.synthmania.com/sr-jv80-06.htm (to Roland's credit, this was outsourced and they pulled it after they noticed that AMG pulled a fast one) While Persing is correct (I really would like to pick his brain about the way sound design was done back then, because I think I've reverse-engineered some tricks) someone actually did put work in building this library and didn't do it half-assed like the aforementioned SampleRobot poo poo. Roland should simply buy them out, build a self-contained plugin, and sell it for 5 times the price. Hey - it worked for Korg. quote:I'm half wanting to grab it, as the D-50 was one of my dream synths of the 80s WAFFLEHOUND posted:Sorry, this is already the next thread title: No, this should be: Rageaholic Monkey posted:Perhaps having my first hardware drum machine will re-invigorate me.
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Apr 11, 2014 07:21
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Laserjet 4P posted:D50s are still relatively affordable. Get one. Just put it under your bed, that's what MIDI was invented for. I hella want one, but the only ones I've seen here have been ~$650. That's not affordable at all 
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Apr 11, 2014 07:43
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You'd have to flail through a mile of ego to get within spitting distance of Eric's brain, Laserjet! And, Rageaholic Against the Monkey Machine: yeah having a palette of sounds that's preselected to sit well with each other can help with EQ problems. Whether the Widdim Rolf will provide that - and suit your ears and taste - is yet to be seen. Another EQ tip is to use hardware mixers. It's far quicker to find the sweet spot when you've only got low, high and swept mid (plus a fixed low cut) rather than second-guessing the countless parameters, combinations and options in the software DAW world. Definitely look into how to "stem" your tunes out of Reason. Mixing down pure audio stems is a boost as it means one has to focus solely on sculpting, positioning and gelling each part. Stops one reworking the skeleton, flesh and fashion of the track during the hair and makeup part of the process.
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Apr 11, 2014 07:46
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Laserjet 4P posted:I was ready to blast this one because lots of this poo poo appears on eBay and it's usually some rear end in a top hat who bought a Fantom/Motif/Kronos, hooked it up to a lovely computer, installed SampleRobot or AutoSampler or whatever, and let it run for a week or so, but it appears that they actually did their homework and sampled stuff separately and dry the way it should be done. Anyway, yeah. I can hear why people say it was better than the D-110. Facebook blows, but I just discovered some buried comments where Persing was answering peoples' questions about the matter. He says that the PCMs used on the D-50 were his as well, and that Roland still actually licenses their old sounds to companies willing to play along. Interesting stuff. Laserjet 4P posted:D50s are still relatively affordable. Get one. Just put it under your bed, that's what MIDI was invented for. Laserjet 4P posted:No, this should be: Radiapathy fucked around with this message at 07:55 on Apr 11, 2014 |
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Apr 11, 2014 07:52
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Radiapathy posted:Facebook blows, but I just discovered some buried comments where Persing was answering peoples' questions about the matter. He says that the PCMs used on the D-50 were his as well Then he had the right lawyers because that's a pretty sweet deal. quote:But that's where my SY85 is. (Really.) I don't even have rack space for a 550. I also have one of these Yamaha monsters of yesterday but the SY is at least more capable than my W5. Unlike your SY85 I can't probably even give my W5 away
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Apr 11, 2014 08:03
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ynohtna posted:You'd have to flail through a mile of ego to get within spitting distance of Eric's brain, Laserjet!  What kind of hardware mixer would you suggest that would sync up with a DAW? Or do those not do that?
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Apr 11, 2014 08:03
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Rageaholic Monkey posted:Yeah those are good ideas for sure. Thanks That's not really what they do. How you accomplish track sync, via brute force, is this: When you're sequencing, insert an empty first measure for every track, then put one one note on the first beat of that measure, again, for every track. Then you just have to make that first hit line up once you've recorded, solo, every track.
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Apr 11, 2014 08:10
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ynohtna posted:
Currently I just put a Satson on every channel for gainstaging and do a rough mix and upload the stems to my vocalist who does the final mix and mastering. I have an older project where I tried to mix it while composing and it is a loving mess, definetly gonna strip out a few million EQs and mix from stems if I'm gonna resurrect it someday.
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Apr 11, 2014 13:37
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Rageaholic Monkey posted:I use Reason primarily and have since I first started producing years ago, and no one else I know uses it. But I've got Ableton too and I mess around in there every so often. Have you considered rewiring Reason into Live? I used to do that all the time when I primarily used Reason
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Apr 11, 2014 14:19
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This just in, re: LA-50quote:Following comments from the original sound designer of the D-50, we have withdrawn the LA-50 from sale until such time that hopefully, we can release it in a way that everyone would be happy with. Thanks for your understanding.
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Apr 11, 2014 15:03
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And now it's Page Not Found on Synthtopia but hey I've got 2 .rar files here with the D-50 library so welp.
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Apr 11, 2014 15:20
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Laserjet 4P posted:What interests me is the uncanny valley of synth sounds ^--This post, as well as all the talk of wedding band keyboards, reminds me of Oneohtrix Point Never's most recent record: R Plus Seven. It uses cheesy digital emulations of real instruments, computer singing and a bit of audio cut and paste to create a musical uncanny valley. The sound he pulls off is mesmerizing, and it's become one of my favorite albums. For your consideration: http://vimeo.com/82021800 In true gearslut fashion, that album inspired me(lol) to buy the Korg M1 vst. Lots of fun to be had there. It's actually very fun to design patches for. renderful fucked around with this message at 21:30 on Apr 11, 2014 |
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Apr 11, 2014 21:27
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SineRider posted:Have you considered rewiring Reason into Live? I used to do that all the time when I primarily used Reason 
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Apr 11, 2014 22:58
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renderful posted:^--This post, as well as all the talk of wedding band keyboards, reminds me of Oneohtrix Point Never's most recent record: R Plus Seven. It uses cheesy digital emulations of real instruments, computer singing and a bit of audio cut and paste to create a musical uncanny valley. The sound he pulls off is mesmerizing, and it's become one of my favorite albums. Yay, new (sorta) Aphex Twin!
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Apr 12, 2014 09:35
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The Sega Genesis/Megadrive and requisite FM SYNTH chipset will, nay, MUST never die in the hands of crazy and wonderful people. Courtesy of the Watermelon Team for their upcoming Project Y Genesis game(Yes, you read that right, creating games that by all rights should not exist on long defunct hardware is Watermelon's entire schtick for the most part alongside the few other groups in the world that are their fellow travelers) that is intended to be an homage to the work of Yuzo Koshiro/Motohiro Kawashima on the Streets of Rage series and others: https://soundcloud.com/tulioadriano/project-y-sampler2-by Only a small sampling of what is to come, but they've clearly got this thing going in a fine direction.
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Apr 12, 2014 21:54
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I have a question for those of you who actually still make music: Do you have problems getting sounds that gel well from different devices? I've had issues recently where I'll go to add another synth patch to something I'm working on and have a lot of trouble getting it to mesh well with what's already there. This is probably compounded because I'm working with software, where everything has built in effects put onto the patches. Anyway, how do you guys deal with this? e: The first answer will likely be "make your own patches." I know. I usually do. But I still have this come up.
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Apr 13, 2014 01:13
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BKPR posted:
The second answer is, as always, buy more gear.
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Apr 13, 2014 01:30
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BKPR posted:I have a question for those of you who actually still make music: Do you have problems getting sounds that gel well from different devices? Always; when I started using VSTs it was the same thing until I decided to only use one VST to write a series of songs; seven with Albino, then I moved on to Massive, then Atmosphere, and finally settled on FM8 which is more or less perfect for me. I've also gotten into the habit of turning off all the in-VST effects and using the ones in Renoise instead. I can't speak much for hardware but I find myself working in the same way; when I write something I only use one device. I'll probably bend the rules a bit if I get a sampler, but even then I like picking up a box, sitting wherever I want with a pair of headphones, and hammer something out. WorldWarWonderful fucked around with this message at 01:41 on Apr 13, 2014 |
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Apr 13, 2014 01:35
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BKPR posted:I have a question for those of you who actually still make music: Do you have problems getting sounds that gel well from different devices?
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Apr 13, 2014 01:36
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BKPR posted:I have a question for those of you who actually still make music 
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Apr 13, 2014 01:39
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BKPR posted:I have a question for those of you who actually still make music: Do you have problems getting sounds that gel well from different devices? Think about the frequency range you're trying to occupy with said synth and modify/design the patch accordingly. Use a spectrum analyzer if you need to visualize. Keep this in mind as you're adding elements.
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Apr 13, 2014 02:30
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When cult/horror movie director John Carpenter was asked why he made such great and timeless synth-heavy soundtracks throughout the 70's and 80's, he basically said it was because he couldn't afford to hire a orchestra. Using just his basic musical background and a few synthesizers, he could synthesize a full score complete with brass-like horns, string-like strings, and all sorts of realistic synthesized sounds... without having to hire anyone. Always thought that was kinda interesting, how it was done more out of desperation.
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Apr 13, 2014 07:04
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renderful posted:Think about the frequency range you're trying to occupy with said synth and modify/design the patch accordingly. Use a spectrum analyzer if you need to visualize. Keep this in mind as you're adding elements. I think this is the key thing to look out for, not only when creating a patch, but also when playing your patches. When designing a sound you often just hear it alone and thus add more and more things to make it interesting on its own. When you play three of those sounds together later on, they will probably clash. Also it helps to spread your notes over several octaves. For example: Bass plays on the lowest octave, pads one octave higher, leads another one higher.
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Apr 13, 2014 11:06
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The Cleaner posted:Always thought that was kinda interesting, how it was done more out of desperation. shitloads of things were done out of desperation it's just that nowadays they take the form of buying 20 multiband comps and putting them all on the master so you hope it's going to be a hit BKPR posted:I have a question for those of you who actually still make music:  renderful posted:Think about the frequency range you're trying to occupy with said synth and modify/design the patch accordingly. Use a spectrum analyzer if you need to visualize. Keep this in mind as you're adding elements. FabFilter stuff is pretty sweet for this btw, also read http://www.dnbscene.com/article/88-thinking-inside-the-box-a-complete-eq-tutorial if you haven't done so yet.
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Apr 13, 2014 11:48
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The core technique of good
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Apr 13, 2014 13:27
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Look at this classy gentleman right here: https://www.youtube.com/watch?v=tWd1J41KNXU
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Apr 13, 2014 19:39
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Just rediscovered some great synthy stuff on Rephlex that sounds oddly similar to AFX's Analord series, but I fully welcome it: http://www.rephlex.com/releases/view/129/Jodey%20Kendrick/Plus%20Ten/CAT%20203-A renderful fucked around with this message at 03:33 on Apr 14, 2014 |
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Apr 14, 2014 03:27
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So, how are you guys integrating the Roland AIRAs into your rigs? USB sounds like it's the way to go for full functionality- especially for the TR-8, but anyone who already uses an audio interfacee is going to have to get creative to use the TR-8 effectively, at least on Windows. Anyone have all 3 of the available AIRAs working together yet? How are you routing your MIDI/audio/USB, etc? Is the TR-8 truly locked to 32-bit/96kHz? (Yet another complication for people with other gear.) EDIT: Also, have you started investigating Scatter mods for all your vintage boards yet? EDIT 2: Woah, is this seriously the only manual for the TR-8? Tell me the installer gives you something more than a quick start poster. Radiapathy fucked around with this message at 18:20 on Apr 14, 2014 |
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Apr 14, 2014 18:11
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I'm not sure requesting more words from Roland "'Default' means the value automatically selected by the Composer overriden by your command" Corporation has ever truly resulted in actual end-user benefit. Edit: Jodey Kendrick rules, renderful, but is the Rephlex site redirecting to their label page on discogs for everyone or just me? And my current synth intake is being fueled, not for the first time, by 80s Stallone. ynohtna fucked around with this message at 19:37 on Apr 14, 2014 |
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Apr 14, 2014 19:34
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I'm imagining a device which takes standard USB audio and has ~8 discrete audio outputs, as well as handling of USB MIDI(similar to the iConnectMIDI) with physical MIDI ports. It seems like it might sell/be useful to many, although maybe it will just lead to more hardware companies not giving real individual outs and instead relying on USB, as is the current trend.
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Apr 14, 2014 19:39
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Radiapathy posted:So, how are you guys integrating the Roland AIRAs into your rigs? USB sounds like it's the way to go for full functionality- especially for the TR-8, but anyone who already uses an audio interfacee is going to have to get creative to use the TR-8 effectively, at least on Windows. Honestly, I just use the stereo outs on my TR8/TB3 into my audio interface. The way I see it, the TR8 has a bunch of faders so gently caress, I'm gonna use 'em (I really like submixes). I imagine I might use the USB outs if I were producing _tracks_ with it, but I have all the 808/909/etc. samples I need on my desktop computer and that was never the intent when I bought the TR8 anyway. In my Ableton rig, which I basically just refer to as 'deck five' routed into my DJ gear, the TR8 is actually the MIDI clock master - because I've had mixed experiences with using Live as a sequencer/master clock for anything (something I find really ironic). I have a MIDI splitter which so far is just sending the TR8's output to the TB3, KP3, and Live. Start/stop on the TR8 rolls transport in Live, starts the TB3 playing and sends clock to the KP3 to sync effects. Naturally, the TB3 is muted until I want it up, and I have the KP3 on a pre-fader return with sends from the TR8 and TB3 - this way I can have fun slowly bringing the TB3 into the mix with the KP3's TalkFilter effect (my favourite). Ableton has some stock drum loops - Amen, Think etc., that I should probably trim down to the bare essentials. I had to incur some negative delay compenation in Live to get the loops triggering properly, and they're all in 'Repitch' mode. This probably saves some CPU, but it also makes things really fun when winding down the tempo on the TR8. As far as mixing goes, I'm sending the TR8, TB3 and an open channel for my roommate's looper or some other piece of expensive robot-fart gear to one channel on my DJM900, and the loops to another. It's really really fun to get someone in who knows what they're doing, and jam with them over top of a DJ set. As I've only really used the TR8's master outs, I cannot comment on whether it is 'locked' to that sampling rate/bit depth. Yes, that is the actual manual. Either I haven't figured it out yet, or Scatter is useless.
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Apr 14, 2014 20:39
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Buy me an AIRA TB-3
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Apr 14, 2014 21:26
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Hear you go, son.
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Apr 14, 2014 21:34
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Live Windowlicker cover. https://www.youtube.com/watch?v=W9GfEAaQUR4 Tinfoil over the speaker for distortion is awesome. Startyde posted:[...]hail Satan
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Apr 14, 2014 21:43
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Awesome Art + Music + Technology podcast where they interview people like Randy Jones(Madrona Labs), Matthew Davidson(Stretta), Julien Bayle(Max), Olivier Gillet(Mutable Instruments) and many others https://itunes.apple.com/us/podcast/art-+-music-+-technology/id736102938?mt=2
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Apr 14, 2014 21:48
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