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is that ios stuff? I wanna run it on my pc Id only get whammy if had double locking and that’s a load of work so probably skip all that. best look on second hand to take advantage of others insecurity
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Apr 24, 2020 08:42
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Some generative harmony noodling with Ableton and the Hydrasynth, and also trying to see if I could coax it into sounding kind of expressive using pretty much just the Hydrasynth's LFOs. There is also simple Ableton stock percussion, generative grand piano, and not-random Volca FM whistling. uh I'm not real great at EQ and mastering so sorry about that https://soundcloud.com/nominalindltd/generative-hydrasynth-experiment
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Apr 24, 2020 13:41
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echinopsis posted:is that ios stuff? I wanna run it on my pc GarageBand is Apple exclusive but the iRig should be fine for PC I think? It just lets you connect a guitar to a microphone input and gives you a line in to monitor.
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Apr 24, 2020 17:29
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a sleeve of ic chips showed up at my apt i have entered a new circle of eurorack hell
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Apr 24, 2020 17:35
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magiccarpet posted:a sleeve of ic chips showed up at my apt i have entered a new circle of eurorack hell school is done and i have time for pcb design what are you up to my friend
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Apr 24, 2020 17:42
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EBB posted:school is done and i have time for pcb design what are you up to my friend i am a soldering newbie and am trying to build this S&H thing https://modularaddict.com/frogleg-synthesis-selectivesample-hold-pcb
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Apr 24, 2020 17:51
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magiccarpet posted:i am a soldering newbie and am trying to build this S&H thing I just got back into soldering after like a 20-some year hiatus and was super-nervous about trashing an expensive Eurorack kit. There are some cheap kits on Amazon that are basically just a bunch of resistors, LEDs, and ICs that you can use as warm-up practice. It took me two of them (and only the second one actually worked, haha) before I felt like I really had it down and could move on to actually doing gear that I'd want to depend on. They might be worth a shot just for some cheap and easy practice. Here's the specific one I used: https://www.amazon.com/dp/B075SWVZNJ/ref=cm_sw_em_r_mt_dp_U_XNXOEbNKR773V After that I did an oscillosope kit successfully and the Zlob hex VCA so now I'm ready to start practicing some surface mount! https://zlobmodular.com/product/vnicursal-vca/
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Apr 24, 2020 17:58
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nominal posted:Some generative harmony noodling with Ableton and the Hydrasynth, and also trying to see if I could coax it into sounding kind of expressive using pretty much just the Hydrasynth's LFOs. Thankyou for this I enjoyed
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Apr 24, 2020 22:06
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I just receive Xaoc's Zadar and it's such an incredible module. I purchased it for the four envelopes but it turns out it can be set as 4 four free running LFOs and even better, four oscillators giving you crazy PWM-like sounds with custom waveforms. Here is quick track made with it along with the new Verbos Harmonic oscillator (which sounds also great) https://soundcloud.com/gautier-gillon/giant-angry-head
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Apr 24, 2020 22:24
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You should not get into eurorack. You should instead get into 5U.
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Apr 25, 2020 00:49
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1/4" synth formats ew
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Apr 25, 2020 01:01
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is it too early to start the quarantine mixtape? i figured everyone elses is coming out sometime next month.
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Apr 25, 2020 02:20
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Oh HELL yeah
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Apr 25, 2020 02:24
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nominal posted:Some generative harmony noodling with Ableton and the Hydrasynth, and also trying to see if I could coax it into sounding kind of expressive using pretty much just the Hydrasynth's LFOs. v nice SpaceGoatFarts posted:I just receive Xaoc's Zadar and it's such an incredible module. I purchased it for the four envelopes but it turns out it can be set as 4 four free running LFOs and even better, four oscillators giving you crazy PWM-like sounds with custom waveforms. i have no idea how you pull this off w/modules but it's great. side note, i sent one of mine to a buddy and he's like 'the most bangin track came on after yours!' and it turned out to be one of yours haha
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Apr 25, 2020 03:02
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BIG TIT LIL NIP posted:is it too early to start the quarantine mixtape? i figured everyone elses is coming out sometime next month. lol, you just volunteered yourself to put it together.
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Apr 25, 2020 03:52
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yeah this is going into my play list along with quite a few others you've got i love how dirty it gets
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Apr 25, 2020 05:01
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nominal posted:Some generative harmony noodling with Ableton and the Hydrasynth, and also trying to see if I could coax it into sounding kind of expressive using pretty much just the Hydrasynth's LFOs. Really like this and it's making my Hydrasynth lust even worse.
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Apr 25, 2020 06:30
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SpaceGoatFarts posted:I just receive Xaoc's Zadar and it's such an incredible module. I purchased it for the four envelopes but it turns out it can be set as 4 four free running LFOs and even better, four oscillators giving you crazy PWM-like sounds with custom waveforms. Wow it really does sound like the picture huh.
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Apr 25, 2020 09:00
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Pillow Face posted:i have no idea how you pull this off w/modules but it's great. It's not an overly complex patch. Besides the drum section (a kick from Crater, a snare, a clap and ride cymbal) there's the Basimilus modulated by Mimetic Digitalis and sent into a bandpass with a LFO + delay for the glitchy drum sounds. In the skiff the Verbos harmonic oscillator is triggered by 3 de-synced envelopes from Zadar, then mixed with the 4th Zadar envelope acting as an oscillator with warp parameter modulated by a LFO providing the dirty drone. The trigger tracks and mix levels are played live, and the Verbos amp and tone provides nice saturation and filtering + self oscillation, also played live.  Somehow (after a lot of time learning the modules) I'm more confortable playing this live as an instrument rather than through a DAW. It's also way funnier  Pillow Face posted:side note, i sent one of mine to a buddy and he's like 'the most bangin track came on after yours!' and it turned out to be one of yours haha Haha that's a nice feedback, thanks !
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Apr 25, 2020 15:02
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a mysterious cloak posted:Really like this and it's making my Hydrasynth lust even worse. TBQH I was kind of being grossly unfair to the Hydrasynth with this, it's really only doing just a straight saw on one oscillator, one of it's filters, envelopes for filter and amp, and three of it's LFOs. One of those LFOs isn't even really doing anything other than sending CV out to modulate some Plaits percussion just a smidge. The effects were it's own internal other than a little Glue Compressor, though - this is Chorus, Pan Delay, Plate reverb, and Rotary. It was a quickie patch I was making just to troubleshoot some tuning issues with my eurorack stuff, but I ended up liking how it sounded.
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Apr 25, 2020 16:37
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SpaceGoatFarts posted:It's not an overly complex patch. Besides the drum section (a kick from Crater, a snare, a clap and ride cymbal) there's the Basimilus modulated by Mimetic Digitalis and sent into a bandpass with a LFO + delay for the glitchy drum sounds. Hey question about your techno system, is it possible to use rear jumpers to connect the sequencer to the other drum modules instead of the front panel? I know the latest ones come pre wired in the back.
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Apr 25, 2020 17:27
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A MIRACLE posted:Hey question about your techno system, is it possible to use rear jumpers to connect the sequencer to the other drum modules instead of the front panel? I know the latest ones come pre wired in the back. Yes it's totally possible. All techno systems supposedly have it, but if you purchase modules separately you need to check that your sequencer has the pins for this soldered because mine came without them. Then you need to buy the cables. I think they are on their store now. If you still plan to purchase the sequencer I guess you can ask Erica for one with the pins to be sure e: I don't think it will work for non Erica modules though. Also please note the accent implementation on the Techno system is very specific and doesn't work with most other modules : the accent inputs act as attenuators with 0V making the module quiet, and at max voltage the volume is normal. In case it wasn't clear this is not a techno system but the same case and a few modules purchased separately because I did not want all those in their system SpaceGoatFarts fucked around with this message at 17:49 on Apr 25, 2020 |
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Apr 25, 2020 17:37
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The Voice of Labor posted:Guys, look, I've tried being nice about this but if someone doesn't score some cover art quick, it's going to look like this Dude  https://www.atlasobscura.com/places/karl-marx-monument-bust-nischel
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Apr 25, 2020 18:31
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Hey SGF, what cases and stands are those? Somehow my NiftyCASE got full. I'm leaning toward making a black walnut slanted case, but those stands look nice because you can route annoying poo poo under. Might just go with boxed.
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Apr 25, 2020 18:58
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Philthy posted:Hey SGF, what cases and stands are those? Somehow my NiftyCASE got full. They are both travel cases because I often jam with friends so my setup must be easily transported (and also self contained so I have all the mixers in it). One is the Make Noise shared system case with the CV bus which is really a great case (the CV bus is genius). The other is Erica Synths travel case http://www.makenoisemusic.com/cases/7u-metal-cv-bus-case-matte-black https://www.ericasynths.lv/shop/enclosures/travel/travel-case/ The stands are just the cheapest foldable guitar stands I found on Thomann and they are perfect for this. I love this angle for playing while seated. https://www.thomann.de/gb/millenium_gs_2010.htm 
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Apr 25, 2020 19:33
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Awesome. Thank you.
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Apr 25, 2020 19:38
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A question for the experienced here; I'm still struggling a lot with how different my recordings sound when heard through headphones, my monitoring speakers, or through a basic speaker. It's really difficult to find the good balance for the different frequencies because of this. What do you recommend for playing and recording if the idea is to get someone that sounds good whatever the speakers? Recently I started playing + recording through headphones, then re-listening through the monitoring speakers, and then recording a second take if I notice things that need adjustments. Is there an easier way to do this? Would playing with the monitoring speakers ensure a result that would be similar enough to what people will hear on their system? I have a feeling there's no easy answer to this but maybe someone has a good advice? Thanks!
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Apr 25, 2020 19:47
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SpaceGoatFarts posted:A question for the experienced here; I'm still struggling a lot with how different my recordings sound when heard through headphones, my monitoring speakers, or through a basic speaker. It's really difficult to find the good balance for the different frequencies because of this. I also have this question. I can't really audition things at the level I would like because I'm in an apartment. So I do a lot of headphones
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Apr 25, 2020 20:01
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Same, headphones because apartment living. I too like to mix/record on cans and then listen to the "good" take on monitors so I only piss off my neighbors once.
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Apr 25, 2020 20:25
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Am I the only idiot who tries to make synth music in a DAW by re-using that one single hardware synth on 3-4 different tracks? I like my OB-6 a lot, and I want to juice the hell out of it, so I'll have it do the bass line, the pads, the plucky lead, a nice bassy crescendo wave thingy. BUT that also means that now I'm using one piece of hardware for 4 jobs, so 3 of those tracks need to be frozen at all times (I use CodeKnobs) and only one midi track is actually actively using the synth. Is the typical workflow to give one track per hardware instrument and avoid that PITA instead of what I'm doing?
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Apr 25, 2020 20:39
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I think it just means you have better control of your finances than most of us.
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Apr 25, 2020 20:43
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Yea, that's what you do when the thing isn't multi-timbral.
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Apr 25, 2020 20:44
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Philthy posted:I think it just means you have better control of your finances than most of us. Buy A Kurzweil! Sample the OB6! 
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Apr 25, 2020 20:45
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SpaceGoatFarts posted:Is there an easier way to do this? Would playing with the monitoring speakers ensure a result that would be similar enough to what people will hear on their system? I have a feeling there's no easy answer to this but maybe someone has a good advice? A second or third set of ears really helps. If feasible, try to incorporate a car stereo system in your listening and revision cycle as the average bass/loudness is going to be radically different. You can also try going straight for the lowest common denominator. Cellphone speakers have the least fidelity and are the most likely thing your music will be played on. DreadCthulhu posted:Is the typical workflow to give one track per hardware instrument and avoid that PITA instead of what I'm doing? Wrangling a bunch of different synths isn't really less of a PITA than multitracking one. Polytimbral synths lessen the pain, but have fallen out of vogue with the shift back towards analog synths. The Voice of Labor fucked around with this message at 21:15 on Apr 25, 2020 |
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Apr 25, 2020 21:12
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DreadCthulhu posted:Am I the only idiot who tries to make synth music in a DAW by re-using that one single hardware synth on 3-4 different tracks? I like my OB-6 a lot, and I want to juice the hell out of it, so I'll have it do the bass line, the pads, the plucky lead, a nice bassy crescendo wave thingy. BUT that also means that now I'm using one piece of hardware for 4 jobs, so 3 of those tracks need to be frozen at all times (I use CodeKnobs) and only one midi track is actually actively using the synth. Yes. This was why 4-16 part multitimbral VAs in the late 90s and early 00s were such a godsend - because you could keep everything in MIDI until you could burn it to CD directly or hope the DAT would not eat itself. Keep the MIDI track for archival purposes, record the audio. Only mess with rerecording if your take sucked. Thus is the harsh reality for anyone with one polysynth and a yearning for two. Alternatively, use a plugin for composing and replace it with the real thing when you think you are done. This does not always work because you will always have a small difference and sometimes the plugin just works better. You are not an idiot, but you nicely demonstrate the reason why most of the time I use plugins - because I just don’t want to deal with that poo poo.
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Apr 25, 2020 21:16
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Thanks for the tips! Sounds like then a reasonable compromise is to "prototype" in VSTs and get it close enough to what I want, and if the track is begging for a specific hardware sound that I just can't get through my soft synths, I can bust out the hardware synth and re-do a particular track with it. That seems sensible. The challenge I've been having was primarily during the creative and exploratory phase of writing a track, where I'd write a pad part, freeze it, switch to bass, freeze it, then go back to the pad, unfreeze it, tweak it, freeze it again, then go do plucky leads poo poo.. it takes forever compared to just having 3 Serums running side by side...
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Apr 25, 2020 21:27
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Jon Hopkins Green Frog posted:The live instruments get recorded into Logic, and then I open them simultaneously in SoundForge. I can make changes to them in SoundForge, and those changes update immediately in Logic without having to save them. It’s kind of like a loophole. Logic doesn’t know that the sounds are being changed, so it just plays them directly off the drive. I’m just so used to it. I can have an infinite number of changes on a sound, with a whole Undo chain just for sound [in SoundForge] and a whole Undo chain just for arrangement changes [in Logic]. It keeps the sound and the arrangement completely separate, and I don’t understand why there aren’t programs that already do that. To me, the two things are different. They shouldn’t be part of the same chain. https://youtu.be/Q04ILDXe3QE so yeah, example of unconventional workflow, 1 synth, awesome track, just do whatever lol just realized that the skater is chris chann
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Apr 25, 2020 21:57
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Want to play a synth with a bunch of random youtube people? This stream is converting text to MIDI using Max. https://www.youtube.com/watch?v=U_yzua5DiNM
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Apr 25, 2020 22:22
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SpaceGoatFarts posted:A question for the experienced here; I'm still struggling a lot with how different my recordings sound when heard through headphones, my monitoring speakers, or through a basic speaker. It's really difficult to find the good balance for the different frequencies because of this. Can you record multiple tracks and eq/level them seperately, or when you perform them into the thing you record onto (eg do you have a little mixing desk type sitch or other way to eq/level somewhere along the setup or in the gear)? That would probably help, more than I can understate. Lots of people use reference tracks - Learn how your playback things sound in themselves, as in how they affect the sound. You are always going to be working with that colour even if you dont know its there, you dont need neutral speakers/headphones etc just to know how to decompensate for the ways you adjust your sound to make it seem 'right'. Hope that makes sense. <bunch of random bullshit that you can safely ignore unless you really feel called to experiment with is below> Computer stuff: As well ToneBoosters Morphit can alter the profile of your headphones to be closer to neutral, cheap + can just use the demo, only limit is need to reload it. Spectrum analysers, frequencies interact can be good to see whats happening Voxengo has a fantastic free one. Throw in your reference track if you have one. Run stuff into a limiter and see how it changes - if every time a snare snares everything else disappears then its probably too much. Run through pink noise so it pretty much masks the (complete) track and if things 'jump out' they are probably too loud. Know where your room is messing with you - can be standing waves or weird interactions that mess with you. Play with how your speakers are set up in room, surprising what a little movement can do. If there are freq response graphs for your speakers/headphones etc might see areas you are compensating for - my headphones are slightly weak in the low end I am compensating, as well theres a bit of a spike up just above where the primary part of vocals live. My speakers fantastic solid bottom end, but they cut off before the very very low frequencies. My old room would resonate with a really low A note so writing in that key would give me really kooky mixes until I realised. One day (may be a ways off) when you have a track you are utterly happy with, every single thing works for you sonically/musically etc, it translates really well, and its 100% 100% done without caveat... Pay a mastering engineer that does music you really like thats similar to yours to master it. Listen to whats different, really really listen (drop the volume so its the same as your unmastered one if A/Bing) carefully and clearly. Dont do this till meets the criteria :P . Learn the way it sounds through your system and others really really well. Its just a useful tool to help you learn to improve your mixes/production so they can translate better - you dont need to learn to do that guys job if that makes sense.
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Apr 26, 2020 00:33
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After good speakers, the best thing you can do is treating your room. Keep your monitors out of corners and away from walls, make sure they're physically decoupled from your desk somehow (like Auralex pads or stands), make sure you have them aimed correctly (an equalateral triangle with your head at one corner and the speakers at the others), and make sure the tweeters are level with and aimed at your ears. You'll also ideally want to have them firing down the long axis of the room in order to reduce standing waves/nodes. Bass traps in the corners if possible. Absorbtion/diffusion for high and middle frequencies, especially in places of first-order reflection (ie, directly opposite each monitor) and the mixing desk. Try to reduce sympathetic reverberation by keeping anything resonant out of the room. Try to keep background noise to a minimum (computers, fans, HVAC, etc). Most importantly, DON'T MIX TOO LOUD. 65-75dB is the sweet spot. You can crank it now and then, but you don't want to permanently damage your ears through fatigue. All those records from the 70s that only sound great if you blast them? They were mixing too loud. Your ear does not respond the same frequencies the same way at different volumes. (Google "equal loudness contours.") Take lots of breaks to let your ears rest. Do not, unless ABSOLUTELY NECESSARY, mix with headphones. If you must, make sure they are ACCURATE. Your ear also responds differently to headphones vs. ambient audio/loudspeakers simply due to biology and physics. But the biggest single thing is realize there's no perfect playback system. Listen to as many different playback systems as you can, and find what's the best compromise.
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Apr 26, 2020 02:57
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