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JamesKPolk posted:950s are where the lo-fi-ness of converters become desirable again (and lots of nostalgia for the 950s and 1000s with people making early 90s revival rave stuff). https://www.youtube.com/watch?v=oBw6ELHkRTo Like this kinda thing right? I feel like I've seen a lot of people on youtube lately with this sort of setup.
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Jun 29, 2016 20:37
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64bit_Dophins posted:Yeah might as well. I was also looking at the S950 but it costs about the same as the S5000 for some reason. The 950 is desired for its 12-bit lofi character, and not just by dance guys but by the hip hop guys as well.
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Jun 29, 2016 21:22
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I avoided ever GASing over vintage samplers by picking up TAL Sampler.
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Jun 29, 2016 22:37
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Transistor Rhythm posted:If you already have a Push 2, using it as your central brain like this is a no-brainer. Just set up a template with all of your external devices mapped to channels and sequence from the push, plus use it to grab clips as you jam. Yeah, this has been the consensus from a lot of people. I'm still brand-new to Live so it'll take a while before I'm comfortable enough with it for this workflow to feel natural and intuitive, but I guess in the interest of not spending unnecessary bux I should get to that point before I throw cash at more hardware. The idea of my synth setup not requiring a computer in the mix is appealing, but could be a really bad choice in the big picture.
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Jun 30, 2016 00:56
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sliderule posted:I avoided ever GASing over vintage samplers by picking up TAL Sampler. I keep meaning to check this out - I LOVE their Juno Chorus. 64bit_Dophins posted:https://www.youtube.com/watch?v=oBw6ELHkRTo Exactly what I had in mind haha - I'm seeing it with (chicago/deep) house peeps too.
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Jun 30, 2016 01:58
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if youre looking for an akai rack unit, why not go with the 612? the sliders and knobs make it totally unlike any other sampler, its a really exciting box even as terribly limited as it is
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Jun 30, 2016 14:47
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MockingQuantum posted:Yeah, this has been the consensus from a lot of people. I'm still brand-new to Live so it'll take a while before I'm comfortable enough with it for this workflow to feel natural and intuitive, but I guess in the interest of not spending unnecessary bux I should get to that point before I throw cash at more hardware. The idea of my synth setup not requiring a computer in the mix is appealing, but could be a really bad choice in the big picture. If it's any consolation, this is 1/3 of my studio (I just moved and am re-setting up), and I just ordered a Push 2 to basically be the hub for all of it. I love sequencers - that MC-4 is really the center of most of my work - but having some way to actually capture chunks of audio on the fly and arrange them is huge, vs. just recording a big stereo dump. 
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Jun 30, 2016 15:20
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speaking of samplers, i impulse-bought an MPC1000 the other night. there seems to be a lot of information online of varying levels of quality -- anyone have any essential tutorials recommendations or general tips?
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Jun 30, 2016 15:29
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Mr. Glass posted:speaking of samplers, i impulse-bought an MPC1000 the other night. there seems to be a lot of information online of varying levels of quality -- anyone have any essential tutorials recommendations or general tips? JJOS is the go-to homebrew OS for it. Its straight forward and easy to learn, but its also stupid powerful. I've mostly posted about the 2500 version here but they're essentially the same. The manual is not the best... but every time I re-read it I learn something new and useful, even just a shortcut. http://www7a.biglobe.ne.jp/~mpc1000/ The MPC community is kinda cargo-culty but there is good info out there, though parsing from the bullshit takes some time.
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Jun 30, 2016 17:17
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JamesKPolk posted:JJOS is the go-to homebrew OS for it. what's with all the different versions  what version do i want? OS3? can i just use the free version until i need more functionality or is it severely restricted?
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Jun 30, 2016 18:09
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If you have a 1000 get os2xl
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Jun 30, 2016 21:22
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64bit_Dophins posted:Also this is only somewhat relevant but since when did all of the amiga stuff get so expensive? I checked ebay and there are a couple amiga 2500s that are going for thousands of dollars. The Amiga you want is the 1200, not the 2500. But hey, time to cash in on my 3000T I guess  64bit_Dophins posted:When will the bubble pop? quote:Yeah might as well. I was also looking at the S950 but it costs about the same as the S5000 for some reason. The thing is that the way the sample is pitched down or up is pretty peculiar on the 950 but not that different from how older samplers did it - see also Fairlight, Prophet 2000/2002. Basically the key determines the speed at which the clock crystal runs which determines how fast the sample memory is read out, so you need n crystals and n DACs where n is the number of voices. This sounds different from interpolation which more modern samplers have (sinc interpolation for the really good stuff). Of course back then people making house and hiphop did not give a flying poo poo about this, and everyone else just wanted to turn their Minimoog polyphonic and MIDI, or load ever-growing piano samples. It's really funny to see film composers in the 90s with two dozen E-mu Ultras maxed out, each loaded up with just a single instrument; nowadays that'd be a rig filled to the brim with SSDs, or several nodes running Kontakt/VSL.
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Jun 30, 2016 23:21
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Mr. Glass posted:what's with all the different versions A MIRACLE posted:If you have a 1000 get os2xl ^^^ 2XL and 3 are still updated. 3 is looking interesting but I'm still on the 2XL equivalent. There's a chart that goes through the differences as well but they aren't going to matter to you at this point. I don't know anyone who uses the free one beyond as an installation step.
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Jul 1, 2016 00:30
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I just inserted a compressor (DBX 160 X ) into the out of a patch bay with a TRS insert cable by accident... and it "worked'... sort of. I got some interesting distortion (my goal) and I could change the character by moving the output gain. It was cleanest and most compressed at unity, with more making it (predictably) louder and less adding some interesting distortion at the tail while keeping the levels the same. Anyone know what I did? I didn't think it was possible to use patch bays like that.
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Jul 3, 2016 03:23
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Borrowed a Simmons drum set with SDS-8 sound module from a drummer friend. Immediately loved it. Sounds pretty clean, filters included. A few scratchy pots, but I can clean them up. I found that you can do gnarly things with retriggering, such as causing a rising pitch envelope on the kick if you bat it softly under decay. What's the deal with the sequencer input?
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Jul 3, 2016 16:24
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Anyone happen to know the length of the tempo pulse on a Mother-32? I know it's +5v, but not how long it lasts.
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Jul 5, 2016 01:20
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Control has a used Mother for some reason this morning. $480 http://www.ctrl-mod.com/collections/used/products/moog-mother-32-module
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Jul 5, 2016 18:14
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Simmons SDS-8: the envelope modulates the filter cutoff on every drum except the snare. Is this intended behaviour? Also, the noise is just dreamy. Maybe it's the context, but I swear it's the nicest noise source I've ever heard. Maybe it's the filters.
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Jul 6, 2016 00:04
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sliderule posted:Borrowed a Simmons drum set with SDS-8 sound module from a drummer friend. Immediately loved it. Sounds pretty clean, filters included. A few scratchy pots, but I can clean them up. I toured in a band playing an SDS-8 as the main drum kit about 10-12 years ago. They're really amazingly "live" feeling machines - you hit them harder, they snap more and the pitch changes - for sounding so pleasingly primitive. Playing them with sticks is a joy while still sounding like a human 808. One little trick that I used to use - patch the snare out to one of the tom inputss and then tune/layer it for a beefier sound/extra tone that's synced to your snare hits.
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Jul 6, 2016 20:34
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Transistor Rhythm posted:One little trick that I used to use - patch the snare out to one of the tom inputss and then tune/layer it for a beefier sound/extra tone that's synced to your snare hits.  Any ideas about the above post, i.e.: the snare filter is not modulated by the envelope: Is that normal? Also, this unit appears to have some distortion on the final stage, I have to keep all the voices down and crank the preamp on the mixer. Guess I'll have more to explore once I get this on the bench.
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Jul 6, 2016 20:38
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Just got my OP-1 in the mail and it's tiny and adorable and I love it  Just updated the firmware, now I gotta figure out how to use it 
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Jul 7, 2016 03:28
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Digital Jesus posted:Just got my OP-1 in the mail and it's tiny and adorable and I love it It's not without its flaws but it's a very unique product. Lately I've been using mine to run other synths through it for effects, mainly percussion for more mangling
WorldWarWonderful fucked around with this message at 01:06 on Jul 8, 2016 |
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Jul 8, 2016 01:02
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https://www.youtube.com/watch?v=7_KYEtspRa0 Hey Behringer is really doing that thing. Which reminds me, I need to pick up a bcr2000 for that sequencer firmware.
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Jul 8, 2016 03:15
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sliderule posted:
Y'know, I'll be honest, I really can't remember. But I swear it should be modulated by the envelope because I didn't just always use it as "white noise." And you're totally right about some noise sounding better than others. My Roland System 100's noise source sounds better, audibly, than any other one I've heard. It's downright pretty. Then you add in aging capacitors and things falling out of spec and you probably get some further pleasing high end filtering and rolloff.
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Jul 8, 2016 19:09
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Transistor Rhythm posted:Y'know, I'll be honest, I really can't remember. But I swear it should be modulated by the envelope because I didn't just always use it as "white noise." You know, it makes sense musically. A snare's rattle tapers in amplitude but not timbre. I'll know more once I get it on the bench, but right now I'm too happy to crank the decay, turn down the click and use it as a clean white noise hit. Also, playing around with feeding audio into the other pad's trigger is a lot of fun. Because it's not just a trigger, it sustains the envelope, so some sounds will sort of echo once the master drum decays. The pitch envelope is genius though: near the middle, the pitch will bend down, then up, sort of like the tom hit on the end of Eddie Money - Two Tickets to Paradise where presumably the drummer presses down on the drum skin. I can't believe how expressive this is as an instrument.
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Jul 8, 2016 19:57
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I just recorded an ambient/drone thing with an MS-20 mini: https://technoliches.bandcamp.com/track/divine-by-gazing-into-crystals I was going to post earlier to ask but I figured I should try it myself first: What do you all do to compose things without using a timeline sequencer? I learned on DAWs and moved to an MPC (which is patterns but it's basically limitless so I just figured out how to visualize a timeline that way), and I've never been able to click with something that doesn't let me lay out x tracks for y time - I slave drum machines to the timeline etc and control everything from there cause it just feels natural. But like I have no idea what I'd do with an 808 that wouldn't let me choose patterns with MIDI. It's limiting! How do I start thinking in terms of patterns and loops? What throws me is transitions - I have a hard time writing loops where I can fade/mute in fills and my stuff ends up sounding very static when I do try.
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Jul 13, 2016 07:10
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JamesKPolk posted:I just recorded an ambient/drone thing with an MS-20 mini: I'm sure everybody works differently with pattern sequencing but this is how I do it: I make a pattern and see if it goes somewhere. Does it feel like it needs another pattern following it? If so, I make that one, if not then I do something else. I keep that up until I've got a whole grip of patterns, then I start playing with them in different orders. It can be tough to remember where certain things are when you're working with x0x style sequencing, but you get a feel for it eventually. Depending on the gear you might even be able to easily rearrange things and order them roughly similar to how they might go on a timeline, say one group of four here for a chorus, a group of two for a bridge, maybe an intro and outro where they make sense, but I don't really bother with that and just remember where things go. By playing patterns in different orders I get a feel for how a song could work. Sometimes I need to make another bunch of patterns for things to work how I want them to, or I might copy one pattern and modify it a bit to create variation and keep things from sounding stale, but basically I just end up with a track exploded out into little 64 (usually) step chunks. Then I either play it out manually or dive into the arrangement options on my gear and put things together into a song. Here is the last thing I did with that workflow, it's only 7 patterns played out automagically with parts muting and coming in where they make sense. https://www.youtube.com/watch?v=POQ6tzpKkhc Here's some things I often do for inspiration: Take a funky drum break and transcribe it into a drum machine. Make a nice sounding loop, copy it, modify the copy, copy that copy, modify the copied copy, repeat until bored. Take a song you like, drop it into a DAW, match the BPMs, and then slice it into one bar chunks. Listen to each bit in isolation to see how they work. Have fun rearranging them. Transcribe some complicated as hell melodic poo poo into the x0x format, just to see how it's done. Get frustrated.
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Jul 14, 2016 04:29
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So was a deadline ever set for Boner Jams 2.0? If not we should set one because July is the best time for Boner Jams and I personally really want it to happen because BJ 1.0 was a great theme and turned out really dope. For inspiration here's a track that I started that I think goes with the theme. https://soundcloud.com/dolphinblunts/poontosh
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Jul 14, 2016 18:22
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64bit_Dophins posted:So was a deadline ever set for Boner Jams 2.0? I'm down this time, although fair warning I've been on a coil kick recently and what I've been writing reflects that a lot.
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Jul 14, 2016 23:26
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So my Monomachine showed up today, guess I slipped in under the wire with that Guitar Center order the day Elektron announced they were discontinued. It and Machinedrum are keeping each other company. Need to set aside some time to dive in and understand it. However, in less awesome news, a persistent issue with the power switch on my OP-1, well... persists. In my most recent email exchange with Teenage Engineering support, they pointed me to an iFixit page, which on one hand, good on them for suggesting/advocating a DIY solution, but on the other, I just want this thing fixed so I can use it. Seems like it should be their problem, not mine. So until I can remedy that, it makes two synths (OP-1 and Shruthi) out of 17 total (in terms of hardware) in some state of disrepair/brokenness. Kind of a bummer, especially since all my synths are "modern" synths with less build/construction/electronic/electrical issues than vintage HW, but I guess I'm doing better than some people.
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Jul 15, 2016 00:10
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Thanks for the reply Mr. Sharps! Your videos were part of what got me thinking about switching things up. Reading your workflow I realized I've very caught up on 1 pattern slot = x amount of time in the song - which gives me a lot to work on.
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Jul 15, 2016 02:36
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minidracula posted:So until I can remedy that, it makes two synths (OP-1 and Shruthi) out of 17 total (in terms of hardware) in some state of disrepair/brokenness. What happened to your Shruthi?
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Jul 15, 2016 05:16
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Bolange posted:What happened to your Shruthi?
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Jul 15, 2016 09:11
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_Dav posted:Oh my, my brute broke... Anyone had to deal with Arturia support before? I've submitted a 'support ticket' and have heard nothing for 4 days now... Still waiting on a resolution on this. I receive an email at most once a week, respond immediately and then play the waiting game. In this time I have had 3 emails from them. Will probably have to resort to their forums at this rate, but it's hard to not be hugely passive aggressive with anything like that... In the meantime, bought a Minilogue
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Jul 15, 2016 10:42
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_Dav posted:late May ^ ^ ^ I had a keyboard issue with mine and it took forever to get it resolved to the point where I sent it in to them to fix. Then it was 3 months until I got it back.
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Jul 15, 2016 13:58
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_Dav posted:late May ^ ^ ^ Man if I had to do that I would just sell the thing for parts and use the cash toward something cool like a standalone module (dreadbox erebus maybe?) that fills the same sort of role. Then again, I was never hugely enamored with the sound of my microbrute. I wound up selling it to a bassist friend who now uses it on his pedalboard.
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Jul 16, 2016 04:34
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*DUMB SYNTH QUESTION* I was in a shop today and played around with an old Prophet 600 for a couple of minutes. There was a weird sound on it; the "speed" of each note changes depending on pitch. (Well, to be honest, it wasn't that weird, it's quite a common sound, I just couldn't figure out what caused it.) I recorded a video to demonstrate what I mean: https://www.dropbox.com/s/bps99srvxk4yvyi/File%2016-07-2016%2C%2018%2025%2001.mov?dl=0 The Prophet 600 doesn't have a lot of controls. Was there a pitch envelope on it or something? Or maybe it was playing sampled notes that just get repitched and played back?
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Jul 16, 2016 10:36
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Popcorn posted:*DUMB SYNTH QUESTION* Sounds like the LFO rate is tracking the keyboard.
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Jul 16, 2016 10:57
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Graff posted:Sounds like the LFO rate is tracking the keyboard. Oh, that makes sense, like a square shape LFO loving with the pitch with the rate affected by the keyboard tracking? Anyone know of a synth VST that can do that? I'm using Ableton and it looks like Analog doesn't let LFO track the keyboard, but I could be missing something. I have a bunch of VSTs including all of NI's stuff but I'm not too hot with Massive yet.
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Jul 16, 2016 12:59
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I can't test it at the moment, but Analog should be able to track lfo to pitch. I think is "rate>key" or some similarly named parameter.
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Jul 16, 2016 13:10
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