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rickiep00h posted:You might need to artificially wear the tape a little to get that good splattery sound though. Might as well go whole hog https://www.youtube.com/watch?v=bW_jCPyLqIc
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Jan 23, 2020 22:57
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MockingQuantum posted:Got my Medusa today, and I like it quite a bit so far. I'm just poking around the surface since I'm at work, so I doubt I'm finding even half of what it can do. The grid definitely has some flexibility under the hood that I haven't wrapped my head around yet. I like the sounds I'm able to get out of it though, I kind of like the mix of digital and analog oscillators. It would benefit from a verb and/or delay you probably have stumbled on this by now, but just in case you haven't: https://youtu.be/WZjyjb80-ZU (you'd have to add your own reverb/delay, ofc)
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Jan 23, 2020 23:27
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Pillow Face posted:you probably have stumbled on this by now, but just in case you haven't: Hah, I had not stumbled on it, but that's... startlingly timely. Thank you for pointing this out!
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Jan 23, 2020 23:36
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MockingQuantum posted:Excuse the double post, but I'm looking for some advice. I'm working on a theater project where the director wants basically constant underscoring for the show, and really wants something drone-y, dark and sinister in the vein of Lustmord or Atrium Carceri, but with a distinctly synthy flavor. For theater stuff I normally just source stock music or the like, but this sounds like it's at least somewhat in the wheelhouse of what I can do. I've never really done long ambient drone type stuff, though, so anybody have any advice or pointers on how to tackle that style, beyond long reverb times and delay feedback loop type stuff? Don't fool yourself into thinking ambient is easy. 25 years later and Mr. Dick is still floored every time he listens to The Place Where the Black Stars Hang. Putting things together without any overbearing quick reference framework isn't any easier than doing it with. If you have a video of the production of the play, start with that so you have some sort of temporal waypoints to begin to use as divisions.
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Jan 24, 2020 00:24
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MockingQuantum posted:Excuse the double post, but I'm looking for some advice. I'm working on a theater project where the director wants basically constant underscoring for the show, and really wants something drone-y, dark and sinister in the vein of Lustmord or Atrium Carceri, but with a distinctly synthy flavor. For theater stuff I normally just source stock music or the like, but this sounds like it's at least somewhat in the wheelhouse of what I can do. I've never really done long ambient drone type stuff, though, so anybody have any advice or pointers on how to tackle that style, beyond long reverb times and delay feedback loop type stuff? I've been eyeing the NDLR, I feel like setting the tempo really low and running the drone through multiple mono synths would be a good start with that
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Jan 24, 2020 00:33
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My Lovely Horse posted:okay, gently caress it: dibs. Might as well dig that out and do something with it. You can add the full sonic variety of the Timbre Wolf as well, with the tonal landscape of "Not really a saw wave" and "not really a square wave" and almost nothing in between!
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Jan 24, 2020 00:42
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MockingQuantum posted:Excuse the double post, but I'm looking for some advice. I'm working on a theater project where the director wants basically constant underscoring for the show, and really wants something drone-y, dark and sinister in the vein of Lustmord or Atrium Carceri, but with a distinctly synthy flavor. For theater stuff I normally just source stock music or the like, but this sounds like it's at least somewhat in the wheelhouse of what I can do. I've never really done long ambient drone type stuff, though, so anybody have any advice or pointers on how to tackle that style, beyond long reverb times and delay feedback loop type stuff? For Legend of Grimrock’s dark ambient background tracks I mostly used layers of granular synthesis. Find or record samples that have a lot of harmonic content without being too clean. A short recording where I tap a metallic cooking bowl which sounds a bit like a badly made pan drum was my favorite but I also used a lot of squeaky rusty doors and other metallic squeals, singing and whispers and so on. I usually pitched the grains way down and found a nice spot in the sample where I can scrub the playhead with a slow lfo for movement. Having some variety per-note in scrub speed and playback position helps give it some additional movement when layering chords. And then of course reverb on top. I did this with Ableton’s Granulator but Morphagene or similar should work too. https://soundcloud.com/john-peeba/sets/legend-of-grimrock-2-ambient-music
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Jan 24, 2020 03:32
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MockingQuantum posted:Excuse the double post, but I'm looking for some advice. I'm working on a theater project where the director wants basically constant underscoring for the show, and really wants something drone-y, dark and sinister in the vein of Lustmord or Atrium Carceri, but with a distinctly synthy flavor. For theater stuff I normally just source stock music or the like, but this sounds like it's at least somewhat in the wheelhouse of what I can do. I've never really done long ambient drone type stuff, though, so anybody have any advice or pointers on how to tackle that style, beyond long reverb times and delay feedback loop type stuff? Yesss, fellow theatrical sound designer here. I dealt with something similar maybe 2-3 years ago. Obviously I don't know the nature of your piece, but something that was huge for me were found sounds/field recordings that you may or may not process afterwards. For example, there was a cue where we're in the characters head as he's battling his demons, and I underscored it with a found clip of a glacier undergoing a calving event where everything breaks off slowly into the sea. This is to say that if you want to compose compose for an hour, by all means go for it, but I found that sourcing found things like that was a super effective way to build tension without detracting from the scene. j.peeba posted:For Legend of Grimrock’s dark ambient background tracks I mostly used layers of granular synthesis. Find or record samples that have a lot of harmonic content without being too clean. A short recording where I tap a metallic cooking bowl which sounds a bit like a badly made pan drum was my favorite but I also used a lot of squeaky rusty doors and other metallic squeals, singing and whispers and so on. I usually pitched the grains way down and found a nice spot in the sample where I can scrub the playhead with a slow lfo for movement. Having some variety per-note in scrub speed and playback position helps give it some additional movement when layering chords. And then of course reverb on top. I did this with Ableton’s Granulator but Morphagene or similar should work too. Edit: This is great, super effective.
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Jan 24, 2020 03:39
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Mr. Dick posted:Don't fool yourself into thinking ambient is easy. 25 years later and Mr. Dick is still floored every time he listens to The Place Where the Black Stars Hang. Putting things together without any overbearing quick reference framework isn't any easier than doing it with. Oh believe me, I'm not fooling myself into thinking I'm going to bang out anything fantastic, the best I'm hoping for is "serviceable" and even then I know I may not have enough experience/time to reach that. It's mostly just an opportunity to stretch myself, and the director is enthusiastic about having me try. j.peeba posted:For Legend of Grimrock’s dark ambient background tracks I mostly used layers of granular synthesis. Find or record samples that have a lot of harmonic content without being too clean. A short recording where I tap a metallic cooking bowl which sounds a bit like a badly made pan drum was my favorite but I also used a lot of squeaky rusty doors and other metallic squeals, singing and whispers and so on. I usually pitched the grains way down and found a nice spot in the sample where I can scrub the playhead with a slow lfo for movement. Having some variety per-note in scrub speed and playback position helps give it some additional movement when layering chords. And then of course reverb on top. I did this with Ableton’s Granulator but Morphagene or similar should work too. Yeah this is a great idea and sort of the direction I was going to go, in some ways. I was playing around with Absynth for some granular textures but using samples might be a better bet. I've got a couple of terabytes worth of sound effect files that I've built up over the years so I have a lot to work with. I actually have Granulator, but haven't actually used it yet-- I've mostly used The Mangle for this sort of thing, but Granulator would probably give me more control (and ability to automate, like the LFO scrubbing you mentioned). I'll give that a spin! Sweet_Joke_Nectar posted:Yesss, fellow theatrical sound designer here. I dealt with something similar maybe 2-3 years ago. Obviously I don't know the nature of your piece, but something that was huge for me were found sounds/field recordings that you may or may not process afterwards. For example, there was a cue where we're in the characters head as he's battling his demons, and I underscored it with a found clip of a glacier undergoing a calving event where everything breaks off slowly into the sea. This is to say that if you want to compose compose for an hour, by all means go for it, but I found that sourcing found things like that was a super effective way to build tension without detracting from the scene. Yeah I've done similar things in other shows, this is the first show where I've had a director actually say "I know this is a lot, but I want to at least try having constant sound." I'd normally discourage that because it would normally fall into the category of things directors think they want but really don't... but honestly I kind of want to try myself, just to see what the end result is. It might be shooting the moon to even try. Right now what I'm thinking is that we'll probably develop a handful of long, looping ambience layers that all have different tonal and timbral qualities, and layer in and remove elements in QLab to reflect the emotional thrust of any given moment in the show. It's kind of a weird show, even by modern theater standards--at its heart, it's a show about loss and the relationships between the characters, but it's also sort of a mystery and sort of a ghost story, and is all extremely eerie and off-kilter. So we want to be able to build a sort of ambient "vocabulary" where we can shift between emotional centers, and be able to either reinforce the mood of a moment (and hopefully, carry the audience along with us into that mood), or run counter to the mood of a moment to further highlight the dissonance in the show. So basically I'll probably be developing a few tonal beds that reflect the larger-scale scenic beats, and textural layers that we can swap out (over very, very long fades) to reflect moment-to-moment mood changes.
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Jan 24, 2020 03:56
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I posted something a year or two ago and it was garbage. But I've been practicing, and spending, and finally feel like I have something worth showing. Mix bad probably.  https://soundcloud.com/codeprefix/what-day-is-it It's a digitakt, deepmind 12, tr08 through zoia, and a vc340 through a space echo.
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Jan 24, 2020 04:11
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Robot farts okay? These loops aren't super musical, just cuts from parts of practicing live that sounded interesting. https://soundcloud.com/user-44349750/drum-and-filter-test https://soundcloud.com/user-44349750/robot-telephone-call-recorded https://soundcloud.com/user-44349750/super-filtero-brothers I got a filter to make a drum sound like a kick or Mario jumping depending on the cutoff, it was amusing
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Jan 24, 2020 05:45
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Hi! I'm brand new to synths and recently got a microfreak, mostly to sit around and make sweet sounds. I'm learning a shitload about synthesis etc. and am finding myself spending hours sitting and twiddling knobs. I like to set it to the FM mode and pretend it's 1990 and I'm in Nine Inch Nails. It rules and I've also gotten it working as a midi controller etc. (I also don't know anything about recording so that's been another fun thing to learn about). A couple questions! 1) What's a good way to build keyboarding skills? I never learned piano beyond hunting and pecking, but I played trumpet for a long while and know some guitar, lots of music theory etc. I can walk through the notes in chords, scales, etc. in my head, but have no keyboarding muscle memory. Is there a good site/app/whatever with bits and pieces to drill? Tunes from songs, stuff like that? I was initially thinking about learning piano, but decided I'm more interested in synths and electronic music and would just like to build some basic competence. I know the only real answer is to practice but was wondering if there's cooler stuff to practice than scales and etudes. 2) I have a windows laptop and an iphone. I've played with Reaper on the laptop and Garage Band on the iPhone. Is there a small audio interface or similar gadget where I could plug in the synth and my phone/laptop, plus some headphones? Ideally I could play loops and sequences from GB or Reaper, play the synth over it, and record everything for safekeeping? I could see wanting to get one more instrument in the future like a drum machine/opz/volca or something, but I don't really need anything serious. I'm very much just hanging out and playing at my desk/the couch, so simple solutions are great.
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Jan 25, 2020 00:09
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1. Since the microfreak has a small amount of capacitive keys, I'm not sure how far piano youtubes can take you, but check out piano-ology, he's my fave channel for teaching how to "feel" your way into playing. In general, get used to how different chord shapes and scales feel. Here are some scavenger hunt items to get you started: - Major and minor triad; pick a random key and add the third and fifth. - the two forms of inverted triads: the one with the third on the bottom, and the one that has it on the top. - Play a C major scale, starting with your thumb and working up the keyboard. When you hit the E with your middle finger, cross your thumb under your middle finger and use it to hit the F, enabling you to complete the scale by simply plopping the rest of your fingers down in sequence. - Now play the same scale downward starting with your pinky on C. When your thumb reaches F, pass your middle finger over the thumb to play the E. This crossing over is an essential technique to ensure that you never run out of fingers when traversing the keyboard, so try to practice it lots. - Pick a random key and try to peck out a full scale with it as the root. Major, minor, different modes, pentatonic, whatever, doesn't matter, just try to work out which keys belong to the scale you're trying play (hum it with your voice if it helps). Once you know which are the "right" notes for that scale, try to visually overlay a stencil of those keys in your mind's eye, and start playing around with trying to hit only the notes of the scale you came up with. Congrats you're a keyboard wizard. 2. Any entry-level USB interface should work just fine for your needs. Just make sure you're using the ASIO drivers in Reaper, and set the buffer size as small as you can without getting glitchy playback, to ensure you're getting the lowest possible latency.
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Jan 25, 2020 00:50
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https://www.behringer.com/Categories/Behringer/Computer-Audio/Interfaces/UCA222/p/P0A31#googtrans(en|en)
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Jan 25, 2020 01:27
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If you're looking to expand your setup in the future, also check out the Behringer mixers with USB.
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Jan 25, 2020 02:01
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https://twitter.com/rodtronics/status/1220918589445664769
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Jan 25, 2020 04:58
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Mr. Dick posted:https://www.behringer.com/Categories/Behringer/Computer-Audio/Interfaces/UCA222/p/P0A31#googtrans(en|en) I looked at this but ended up getting Komplete Audio 1 and i’m pretty happy with it, should have gotten the 2 instead but I’ve cheated with a synth to mic lead lol so now have ableton able to record two tracks at once.
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Jan 25, 2020 05:00
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snorch posted:1. Since the microfreak has a small amount of capacitive keys, I'm not sure how far piano youtubes can take you, but check out piano-ology, he's my fave channel for teaching how to "feel" your way into playing. In general, get used to how different chord shapes and scales feel. Here are some scavenger hunt items to get you started: thank you, this is exactly the sort of thing i'm after Mr. Dick posted:https://www.behringer.com/Categories/Behringer/Computer-Audio/Interfaces/UCA222/p/P0A31#googtrans(en|en) this too! hopefully this will be me, soon 
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Jan 25, 2020 08:02
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Finally got my blood-red TD-3. Some thoughts. I've never owned or touched the original, but the first thought when I pulled this out of the box is that it's the lightest cheapest plastic thing ever. It's also a lot bigger than I expected, but the lightweight just throws me off. It's in stark contrast to my Crave which is actually smaller, but is 90% metal/wood and weighs 10 times more. I could kill someone with my Crave, while the TD-3 would explode into plastic bits everywhere. After learning and using it for a day I've decided that I like the plastic light feel, and it just kinda fits the entire aesthetics of the device. It's hard to explain but it just feels right. The sequencer is wild, and takes some getting used to, but it's not over the top frustrating. It is unique in a way the Digitakt is unique and again it seems to speak to the character of the device itself. Some things could have been streamlined but I think they wanted to keep it close to the original. The upside is you can do all your sequence editing from their app very very easily if you just don't want to mess with the onboard one. The app is fantastic for what it is. Lightweight, simple, and just works. This exact same app works for both my Behringer devices, so they've got it unified which is pretty awesome as well. It powers fine with my 9v power bank adapter and it uses the reverse polarity that 9v guitar pedals use also. Hooked it up to my Digitakt via MIDI DIN and it syncs perfectly. It also works fine via MIDI USB with FLStudio. Absolutely no complaints, and for the price, it's a deal if you're into that acid sound. Philthy fucked around with this message at 16:46 on Jan 25, 2020 |
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Jan 25, 2020 16:43
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The OG 303 is also super plastic and light, same build as a boombox from that era
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Jan 25, 2020 17:10
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Yeah this is honestly probably sturdier than an original 303 tbh. Ive handled a few 303s, and I own an MC-202, which honestly feels about on par with a Fischer Price toy from the era. The whole thing creaks if you touch it and the sliders feel like you could just pluck them out with your fingernails. edit: Other thoughts: I wish I could edit track mode in the app instead of just sequences. To be honest Id rather edit sequences in the box, and edit tracks in the app, because I find stringing patterns in track write to be far more annoying than sequencing patterns toadee fucked around with this message at 17:37 on Jan 25, 2020 |
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Jan 25, 2020 17:25
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gah, i'm so torn right now between buying the red or blue now or waiting on the silver. glad to hear it's what it is, though. question about digitakt or any other samplers with just a pair of main outs, what do you guys do for sidechain? do you lose the stereo quality and pan the kick, or do you just not worry about that? i'm digging the sc links posted, kinda wish i had the tude to record a live jam rather than something that has been nitpicked. also, i've noticed that soundcloud product demos now takes up a majority of my listening habits.
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Jan 25, 2020 17:50
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Philthy posted:Finally got my blood-red TD-3. Some thoughts. I tried it at a friend's place 2 weeks ago and I liked it overall. Soundwise I prefer my Erica synths bassline, but this thing shines with slides and accents and the sequencer helps a lot. Not fan of the distortion though and how you can't increase it gradually. You flip a switch and then the sound goes through another circuit. They should have added a mixer for it. But it doesn't sound really good anyway.
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Jan 25, 2020 18:25
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The TB 03 is amazing I highly recommend it. Drive circuit has a wet dry knob, built in reverb, two delay types, classic programming style or more straightforward programming mode. And trigger in for clock. Also runs on batteries and has a speaker lol Could find a used one for like $250 I bet. I might get a second one lol
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Jan 25, 2020 18:44
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A MIRACLE posted:The TB 03 is amazing I highly recommend it. Drive circuit has a wet dry knob, built in reverb, two delay types, classic programming style or more straightforward programming mode. And trigger in for clock. Also runs on batteries and has a speaker lol To be honest the TD-3 sounds more authentic, and has easily accessible trim pots to adjust the VCF behavior to suit the type of 303 you're looking to be (factory 303s varied wildly so it's nice to be able to dial in the sound of one you really like, stock the TD-3 is a "screamer", but its simple to make it a darker 303 which was a bit more common iirc). The PCB also has a bunch of clearly labeled mod points so you can integrate CV gear even more.
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Jan 25, 2020 18:54
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SpaceGoatFarts posted:Not fan of the distortion though and how you can't increase it gradually. You flip a switch and then the sound goes through another circuit. They should have added a mixer for it. But it doesn't sound really good anyway. I was trying to see if I could find a good cross over point to fake it and I couldn't, so yeah, it's just obvious when it gets flipped - but if you're manually doing it anyways, you can likely time it to a kick or clap at the very least. But not being able to just do a build-up that goes from 0-100 then 0-100 again is a bummer. Pillow Face posted:question about digitakt or any other samplers with just a pair of main outs, what do you guys do for sidechain? do you lose the stereo quality and pan the kick, or do you just not worry about that? With the Digitakt it has it's own built in sidechain compressor - or you can use the Overbridge software to stream each individual channels via USB audio into your DAW and sidechain in real time or after the fact. Philthy fucked around with this message at 19:38 on Jan 25, 2020 |
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Jan 25, 2020 19:32
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toadee posted:To be honest the TD-3 sounds more authentic, and has easily accessible trim pots to adjust the VCF behavior to suit the type of 303 you're looking to be (factory 303s varied wildly so it's nice to be able to dial in the sound of one you really like, stock the TD-3 is a "screamer", but its simple to make it a darker 303 which was a bit more common iirc). The PCB also has a bunch of clearly labeled mod points so you can integrate CV gear even more. That’s a good point, I don’t care much about authenticity but since I am looking to add a second “voice” it might be cool to get something that can do some different timbres. Need to see what the line in on my tb 03 does, and if it goes through the filter, effects etc I should just get a bass station 2
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Jan 25, 2020 20:32
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A MIRACLE posted:That’s a good point, I don’t care much about authenticity but since I am looking to add a second “voice” it might be cool to get something that can do some different timbres. Also not sure about the TB-03 tbh, but the TD-3 also will do Polychain, you could get 4 of them (actually apparently up to 16) and have some sort of weird polysynth
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Jan 25, 2020 20:40
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There's also the volca bass that's really decent. Also with 3 osc you can detune them for some phat basslines or chord stabs.
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Jan 25, 2020 20:48
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I mean, to me, Luke Vibert really put it best on "I Love Acid" when he termed it "Teebee 303 Romance" - if you really really want to make acid, it's all about the literal fetishization of the 80s Roland sound. Sure, other artists have done "acid" with other instruments, to varied success, but everyone basis their actual LOVE of Acid on a very particular dissection and obsession with the exact sound and feel. If that's not you then there are probably a billion better options than a real 303 replica, because the only point to it is a fetish.
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Jan 25, 2020 20:59
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It came! I haven't actually sequenced anything yet. I just got the "random" button and did a bunch of knob turning.
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Jan 25, 2020 21:16
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A MIRACLE posted:The TB 03 is amazing I highly recommend it. Drive circuit has a wet dry knob, built in reverb, two delay types, classic programming style or more straightforward programming mode. And trigger in for clock. Also runs on batteries and has a speaker lol lmao did you ever notice when the tb-03 shot to $800 for a couple months? almost wish id sold mine to buy a couple more
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Jan 26, 2020 01:55
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Philthy posted:With the Digitakt it has it's own built in sidechain compressor - or you can use the Overbridge software to stream each individual channels via USB audio into your DAW and sidechain in real time or after the fact. ahh ok, thanks. are you in philly by chance? just going out on a limb based on username toadee posted:I mean, to me, Luke Vibert really put it best on "I Love Acid" when he termed it "Teebee 303 Romance" - if you really really want to make acid, it's all about the literal fetishization of the 80s Roland sound. Sure, other artists have done "acid" with other instruments, to varied success, but everyone basis their actual LOVE of Acid on a very particular dissection and obsession with the exact sound and feel. If that's not you then there are probably a billion better options than a real 303 replica, because the only point to it is a fetish. i liken acid to the electronic music equivalent of that folk rock tradition of dylan, petty, springsteen. it's like the core essence of the genre alongside an akai s1000 pumping out sliced amen breaks. hmm, maybe i will cop an s1000 at some point, although the disk storage aspect of it would be a pain
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Jan 26, 2020 04:09
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Decided to hit record at the end of a night of just fooling around with my new TD-3 https://soundcloud.com/tenfingerstentoes/td-3-first-jam
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Jan 26, 2020 05:47
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toadee posted:Decided to hit record at the end of a night of just fooling around with my new TD-3 Nice. TD-3 sounds great, whats going in there? I've always had trouble getting my tb-03 to sound 'good' without fx.
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Jan 26, 2020 07:12
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My DR 110 is struggling with the battery power. Display cuts in and out and sound suffers. Really strong sometimes though I think it's just loose, the batteries fall out really easily with the cover off. Also, one of the terminals has green crap on it. The other three are really clean. I obviously know a ton about fixing electronics. I sprayed some contact cleaner on the terminal but it's still dropping out some. Should I replace the terminals?
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Jan 26, 2020 08:08
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BIG TIT LIL NIP posted:Nice. TD-3 sounds great, whats going in there? I've always had trouble getting my tb-03 to sound 'good' without fx. First, turn up the gain on your input a bit too much so there’s just a bit of distortion coming in. Then I have it running through a basic 10 band eq, cutting some out of the mid-low and boosting a little mid-high. Then a basic compressor, just to even out the levels a bit under resonance. For this one I have it going through Eventide’s Spring reverb plug-in (it’s on sale for $29 right now actually), but any reverb you like, or no reverb, is honestly fine .
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Jan 26, 2020 15:13
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Here's Peter and the Rhythm Wolf. technically at least, because there's no drums and the wolf only comes in briefly right at the end, I didn't think this through https://voca.ro/hs2NOmwvtHz My Lovely Horse fucked around with this message at 19:23 on Jan 26, 2020 |
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Jan 26, 2020 18:32
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Has anyone else been participating in #Jamuary on Instagram? Make something every day, post it even if it’s rough? It’s been a blast. If you have, post your account, I’d love to check it out. Mine’s at “nateshap89”.
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Jan 26, 2020 19:03
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nah, but if you want poo poo, here's some poo poo bungo checks his blood sugar by eltee pul$itron https://soundcloud.com/user-518878076/bungo-checks-his-blood-sugar
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Jan 27, 2020 01:57
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