|
Vp9000 with a 4gb flash card, collecting dust
|
#
?
Nov 18, 2017 16:04
|
|
|
|
| # ? Jun 4, 2024 03:58 |
|
|
I have... uh... a Volca Sample that I've only recently started getting used to. Trying to be musical with just a 16-step sequencer that can reproduce any noise is hard. Fun, but hard.
|
|
#
?
Nov 18, 2017 17:56
|
|
|
Love my OP1 for sampling. No fuss, no nonsense, just really versatile while also being really simple.
|
|
#
?
Nov 18, 2017 18:20
|
|
|
Plavski posted:Love my OP1 for sampling. No fuss, no nonsense, just really versatile while also being really simple. For how much time I've spent with my OP1 I've never sampled with it. I have never really done much with sampling, ever, so I literally forget that it can.
|
|
#
?
Nov 18, 2017 22:16
|
|
|
alright, i want to treat myself to my first monosynth for christmas. what do i pick? my only real requirement is that i love knobs and tweakability on the hardware, so something with menu diving and two or three twiddlers is out. i make minimal techno and like a solid grounding bass that feels wide. i've always been keen on the moog sound, but a broad saw is fine from anywhere really. i'm currently leaning towards either the waldorf rocket or the bass station 2, but i've read good cases in support of the monologue and the ms-20, as well as just about every other mono on the market. oh noble synthesizers thread, help me be an adult and make a simple purchasing decision?
|
|
#
?
Nov 19, 2017 12:45
|
|
|
Have you looked at Minitaur? I still think they're one of the best things new moog has put out You're certainly not for want of choice on monosynths these days, which is loving crazy. 
|
|
#
?
Nov 19, 2017 14:02
|
|
|
I have a Waldorf rocket and I like it a lot but it's more of a secondary device for me than a full featured synth. I use it a lot for the external filter input and for layering on top of other sounds, but the lack of a variable attack setting really limits the kinds of sounds it can produce. It would be nice to have more targets for the lfo too. The filter really rips in it and there are some really nice synth tones there. Feed the output back into the filter input and you can get some weird poo poo going on. But if it's going to take a more central role I would get something with more routing and a full envelope.
|
|
#
?
Nov 19, 2017 14:55
|
|
|
Startyde posted:Honestly there's enough sampler grognards in here I think you'd be hard pressed to do better in one spot. Actually I don’t have any specific questions I’m just getting started with messing around with samplers and I was hoping for big effort-posts/guides/etc to read through. It seems like a new awesome thing and I really love the idea/potential of it but man is getting started daunting. I’m mostly using EXS24 in Logic Pro X, but am not averse to spending money here and there. It doesn’t seem like EXS24 has any shortage of features or complexity though, so seems unlikely that my problem is that I need to buy stuff. EDIT: I'm really enjoying stuff by Nujabes, nohidea, Jinsang and Tomppabeats, but compared to guitar where you can find some interview in Guitar Player that lays out their whole rig with an explanation and step by step lessons explaining what they do, this type of music seems to have nothing except people on youtube explaining the basic features of FLStudio. TheQuietWilds fucked around with this message at 15:03 on Nov 19, 2017 |
|
#
?
Nov 19, 2017 14:57
|
|
|
Startyde posted:Have you looked at Minitaur? I still think they're one of the best things new moog has put out Dr. Video Games 0081 posted:I have a Waldorf rocket and I like it a lot but it's more of a secondary device for me than a full featured synth. I use it a lot for the external filter input and for layering on top of other sounds, but the lack of a variable attack setting really limits the kinds of sounds it can produce. It would be nice to have more targets for the lfo too. The filter really rips in it and there are some really nice synth tones there. Feed the output back into the filter input and you can get some weird poo poo going on. But if it's going to take a more central role I would get something with more routing and a full envelope. That's really helpful thanks. The Rocket is pretty cheap so I might just pick it up anyway, but you're right in that I want the new synth to take a more central role in my studio.
|
|
#
?
Nov 19, 2017 15:09
|
|
|
Still nothing wrong with the Microbrute as a first monosynth, I reckon. It's pretty straightforward and basic but it can definitely pull off some tricks. I'm biased because that's the path I went down to poverty.
|
|
#
?
Nov 19, 2017 15:15
|
|
|
Should probably start with a Makenoise Black and Gold shared system imo. If you're gonna set fire to a bunch of money just get it out of the way in one go.
|
|
#
?
Nov 19, 2017 15:18
|
|
|
algebra testes posted:Should probably start with a Makenoise Black and Gold shared system imo.  I committed to No Buying for the rest of the year, I did. Then a friend of mine dropped a mess of ASys in my lap for Too Cheap and I'm a terrible addict. But now I fly sideways through time In a silver machine I've got that going for me, which is nice.
|
|
#
?
Nov 19, 2017 15:56
|
|
|
TheQuietWilds posted:Actually I don’t have any specific questions I’m just getting started with messing around with samplers and I was hoping for big effort-posts/guides/etc to read through. quote:It seems like a new awesome thing and I really love the idea/potential of it but man is getting started daunting. Every subtractive synthesizer has: - something that makes a sound - something that alters the sound character (a filter) - something that alters the volume of the sound Added to that you have things that can change pitch, character and volume over time, either one time (envelope) or periodically (LFO). With analog synthesizers, you have an oscillator. It generates a changing voltage over time. This is usually a saw wave, because you've got a little capacitor charging and then, once it reaches a peak, it discharges really quickly. With a little bit of extra circuitry, you can turn that saw wave into a square wave. However, those are usually the only choices you have. Some fancy synths also have a triangle wave, and some allow you to adjust the division of the up and down side of the square wave so you can generate everything from a 50/50 square wave to a narrow pulse. That's basically how the NES makes most of its sounds - square waves, pulse waves, triangle wave that sounds lo-fi as poo poo. Thing is, when you want to generate a more complex waveform, say, one of these:  you usually need to add a second oscillator which does all kinds of trickery with the first. Gone is your second oscillator, hope you weren't planning on playing fifths with one finger. So, let's replace that old analog oscillator with a little piece of memory. This memory is "scanned" by a clock that just counts up until it reaches the end, then it resets to zero again, and every time it ticks, it reads the number in memory that tells a DAC "hey I got number 2396, so be good and turn that into 2396/32768 * 5 = 0.36 Volt on the output". The contents of the memory can be pretty much anything, memory isn't picky about what's living in there. If you start with some really small memory, you can draw pixel art like this:  and hey, look at that, it kind of looks like a saw wave, and it even sounds like one! But since you can now move the pixels up and down yourself, you could also draw a line at the top left and a line at the bottom right, and now you have a square wave! You hook up the keyboard to that clock, so when you play higher keys, the clock starts counting faster, and when you play lower keys, the clock starts counting slower. You also install about 8 of those clocks so that you can play 8 notes at the same time, and now you've invented a Korg DSS1 or something. These are single-cycle waveforms and since you only need 1 (memory-based) oscillator to draw them, you can generate complex waveforms with just one oscillator. All of that sound is still going through the filter and the amplifier, so all the things you can do on an analog subtractive synth, you can pretty much do those on this as well. There is however one big difference! Since the oscillator is now a piece of memory instead of an electric circuit, it means usually that you can't do things anymore like oscillator sync or oscillator FM (in which you'd let the phase of one oscillator reset the phase of another, or hook up the audio output of one oscillator to the pitch input of the other). Since it's memory controlled by a highly accurate clock, it won't automatically drift like dozenth-generation copies of your favourite Cinemax late-night hits do. However, since it's memory, you can do some neat other tricks. You could make something that morphs that waveform from one to another, and voila, you've invented wavetable synthesis. Let's make the memory a little bigger. Now, instead of waves that all sound rather buzzy, you can sample half a second of music, like an orchestral hit or a woman singing. Listen to https://www.youtube.com/watch?v=OQLKgyYrfH4 and https://www.youtube.com/watch?v=OWOaN_azH1s . Congratulations, you've now invented the Fairlight. Thing is, these all deal with chromatically playable sounds that loop. We can also make it so that the counter stops when it's reached the end of the memory. Suddenly, we can put drum sounds in there because they're also really short, like the orchestral hit. We need something extra for that. Since it's not very interesting to have 61 kick sounds increasing in pitch next to eachother, you need to define where playing a sample stops and ends. So, let's divide the keyboard in zones/regions (both of those names are fine and are the same) and say "when you play keys C1 to B1, play the kick sample". But again, the size of those zones doesn't really matter, and if you have lots of 'm, you can make a drum kit - every zone is just 1 key big. Playing C1 plays a kick, playing D1 plays a snare, playing C#1 plays a rimshot, and now you've invented Roland's standard General Music drum mapping. Remember how that analog synthesizer started with 2 oscillators? We can multiply everything again until we feel that we have enough. So, instead of triggering one sample when we hit a note, we can trigger up to 4 at the same time! Those are usually called "layers". Then, a bunch of piano players start to complain. "Hey Laserjet 4P, you've invented a sampler from scratch, but it doesn't sound realistic enough! When I play softly on my piano, it sounds different, and that difference can't be mimicked with a filter!" OK - no problem. We invent something else again; a small instruction that says "when you hit the key with this force, you play sample A. When you hit the key with more force, play sample B!" So we already have "horizontal" sample choice (zones) - but now we also have "vertical" sample choice (based on velocity). These zones can be defined arbitrarily, and because the piece of memory is not prejudiced about what you put in there, you can add drums on top of brass on top of strings when you just whack the keys with enough force. So, how do those hiphop dudes you quote use this kind of stuff? Answer: they don't. Akai MPCs are simple drum samplers and while they do offer one-sound-per-key, layering things and modulating filters, pitch or amplifiers with LFOs is usually omitted. quote:EDIT: I'm really enjoying stuff by Nujabes, nohidea, Jinsang and Tomppabeats, but compared to guitar where you can find some interview in Guitar Player that lays out their whole rig with an explanation and step by step lessons explaining what they do, this type of music seems to have nothing except people on youtube explaining the basic features of FLStudio. The hardest part is the cratedigging. If you find a sample which can be nicely looped or a set of tight drums that you can cut out of an existing track, that's not something you can learn. All you can do is show -how- you cut stuff out of existing tracks. Compare to making a collage; you can't usually explain why you cut out something, but you can show what scissors you're using. Isolate the elements of a track. You need a kick, snare, hihats, bassline, melody, perhaps some background chords. All of those can be done by a sampler. Samplers can loop. Cut out 1, 2 or 4 bars out of a beat and put it on repeat. Slow it down, speed it up. That's really usually all there is to it.
|
|
#
?
Nov 19, 2017 16:38
|
|
|
Laser's always the eloquent one but I'll add that until you reach a level of sophistication, forget the "If a parameter exists it must be controlled" Carlosism. Just grab a couple bars, tap the tempo, 16-pad slice. Don't use auto slice/auto pitch, be gross and off kilter, it's supposed to be fun. It's ok to not think especially if you don't know what you want.
|
|
#
?
Nov 19, 2017 16:49
|
|
|
And of course smoke weed, every day.
|
|
#
?
Nov 19, 2017 16:49
|
|
|
Oh hey sampler chat. I got a Roland S550 which is pretty decent and also a Volca sample because I love tiny music stuff. But a bit ago, a friend convinced me to pick up a Ensoniq ASR-X that was cheap and drat that’s my favorite sampler now, also helps that it came with the scsi expansion, which is nice to have over floppy fiddling.
|
|
#
?
Nov 19, 2017 18:54
|
|
|
Laserjet 4P posted:A cool and good post Thanks, that was definitely informative and helpful. I get that the crate-digging and identifying samples is the most difficult part, especially because all my attempts so far have produced questionable results. It's slow going because I'm trying to learn some really complicated software while I learn the basics of a new style of music that I'm just now getting into. I appreciate the info. 
|
|
#
?
Nov 19, 2017 19:52
|
|
|
Speaking of, here's a nice bit of history: https://www.youtube.com/watch?v=5SaFTm2bcac Suddenly everything about DnB makes sense. It's also the history of sampling since that break was usually the first to be played with on a new piece of sampler tech. Think of it as the Wilhelm Scream of music.
|
|
#
?
Nov 19, 2017 23:15
|
|
|
I have a GC 15% off coupon, good today only. I've verified it will work on any of these: - Pittsburgh Modular Foundation Evo (or 4 / 3.1plus / 3) - Sub 37 Tribute - Two Voice Pro This is me right now:  [edit] Nothing came of this except stumbling across this extremely excellent video: https://www.youtube.com/watch?v=W_NS_PAT3Bg AnnoyBot fucked around with this message at 09:38 on Nov 20, 2017 |
|
#
?
Nov 20, 2017 00:11
|
|
|
I recently bought an Arturia Microbrute. It's been fun playing around with it, though it'll take awhile to figure quite just how everything works together. Anyway, I am going to be getting some reverb and delay pedals for some added fun, and I was wondering what other extras I should be thinking about tacking on in the future when I'm more experienced/have some extra money to expand on this thing, pedal or otherwise?
|
|
#
?
Nov 20, 2017 01:41
|
|
|
That plus the sequencer is the standard Berlin school recipe. Loopers are also cool. I personally really like flangers quite a bit. Other people have other feelings about other effects. Other than that, what else do you want to do with it that you feel like you can't right now?
|
|
#
?
Nov 20, 2017 02:34
|
|
|
ewe2 posted:Speaking of, here's a nice bit of history: This and 'Everything is a Remix' are my favorites! https://vimeo.com/139094998
|
|
#
?
Nov 20, 2017 02:53
|
|
|
JamesKPolk posted:That plus the sequencer is the standard Berlin school recipe. A loop effect would definitely be good to have, should have thought about that. A sequencer would definitely be nice to have in the future. Like I said, I'm just getting into it. It does more than I need it to at the moment, so I'm mostly just curious as to what other folks like to throw into the mix for future reference when I have a better handle on the whole thing.
|
|
#
?
Nov 20, 2017 08:39
|
|
|
Detective Thompson posted:A loop effect would definitely be good to have, should have thought about that. A sequencer would definitely be nice to have in the future. I bought the tape delay effect from Nux (can double as a looper) and they have a broad range of effects that is good bang for bucks for a hobbyist. http://www.nuxefx.com/list-49-1.html Other things that could be nice and not too expensive: a Volca sample for drum machine, a Volca Keys or FM for some sweet polyphony, a mixer (got the Mackie Mix12FX), an audio interface, DAW and a MIDI splitter for when you want more flexibility than the internal sequencers. e: synths are really a money pit but I'm so glad I started at a time where there are so many options for gear that's both affordable and small-sized. Less than 1 year ago all I had was a Volca Sample and now I have this setup in a small mezzanine room. Not pictured: a keystep, Akai APC 25, Volca FM and some effects. crappy cellphone pic 
SpaceGoatFarts fucked around with this message at 12:03 on Nov 20, 2017 |
|
#
?
Nov 20, 2017 08:54
|
|
|
SpaceGoatFarts posted:(got the Mackie Mix12FX)
|
|
#
?
Nov 20, 2017 11:02
|
|
|
My Lovely Horse posted:I've been thinking about whether I need a small mixer, that one looks pretty good actually. But I'm dumb about mixers so here's a stupid question: these kind of units can only apply one effect at a time, but you can select how strong it's applied to each channel, right? Like, if I wanted to have reverb on one channel and chorus on another I'd have to look for a different and way more expensive (unless I do it in the DAW) solution? I have a mackie 8 channel mixer with effects, and what you are saying is correct. One fx option only, by you can mix it in to individual channels. Also, thanks for the suggestions earlier about drum machines goons! Going to see if I get enough Christmas money to maybe pickup a used TR-8 and possibly a Volca Sample.
|
|
#
?
Nov 20, 2017 11:24
|
|
|
My Lovely Horse posted:Like, if I wanted to have reverb on one channel and chorus on another I'd have to look for a different and way more expensive (unless I do it in the DAW) solution? Yes. That's where the cheap guitar pedal effects come into play. Also the mixer effects are pretty basic and you have no control over them besides level.
|
|
#
?
Nov 20, 2017 11:42
|
|
|
That may actually be a good thing for me. If I have too many options I'll sit there twiddling knobs or loading presets for hours and have nothing to show for at the end. That's part of the reason I asked for a really simple recording software the other day. On the other hand, having too few options seems like a good way to get addicted to buying pedals (and then having too many options). Is there a cheapo mixer like that that can do, like, two different effects? Or - hell, treat yourself - three? e: although I suppose it's roughly the same between a mixer like that or a mackie plus one more pedal. e: also a while ago the folks at work asked me if I wanted to join the Christmas party band. One of the songs is late 16th century and I'm considering going all John Maus on them.  apart from that I either sell them really well on preprogrammed chords or I get to learn jazz bass in a week My Lovely Horse fucked around with this message at 14:30 on Nov 20, 2017 |
|
#
?
Nov 20, 2017 14:19
|
|
|
Well I just went from "getting a few modules for my new case" to "oh my case is getting some sweet stuff in it" to "I just commissioned an Ornament and Crime". Loving this new eurorack world I'm living in but man it goes deep fast.
|
|
#
?
Nov 20, 2017 15:29
|
|
|
he1ixx posted:Well I just went from "getting a few modules for my new case" to "oh my case is getting some sweet stuff in it" to "I just commissioned an Ornament and Crime". Loving this new eurorack world I'm living in but man it goes deep fast. verted envelopes and patch cords and red stripes  also modulargrid or it didnt happen 
|
|
#
?
Nov 20, 2017 16:30
|
|
|
mrbradlymrmartin posted:
And thar she blows... https://www.modulargrid.net/e/racks/view/537159 Looking at a couple more things — a delay is probably next.
|
|
#
?
Nov 20, 2017 16:52
|
|
|
Speaking of expanding Euro madness, just got this in the mail  Not sure how it took this long for someone to just make a flexible micro tonal quantizer
|
|
#
?
Nov 20, 2017 17:02
|
|
|
Does anyone know what a shruthi xt would go for? I wouldnt mind selling mine to go towards an alternative standalone synth but I have no idea what to ask for it. The mini ones seem to go for $350ish, and the only times i've seen an XT for sale are with alternate filter boards and custom knobs at $700+ but that seems way too high for what the synth actually does.
|
|
#
?
Nov 22, 2017 01:07
|
|
|
he1ixx posted:Looking at a couple more things — a delay is probably next. just echoing this
|
|
#
?
Nov 22, 2017 02:14
|
|
|
mrbradlymrmartin posted:just echoing this  The joke resonated with me.
|
|
#
?
Nov 22, 2017 02:20
|
|
|
Both of you line up against the wall
|
|
#
?
Nov 22, 2017 03:11
|
|
|
Startyde posted:Both of you line up against the wall Some real negative feedback there
|
|
#
?
Nov 22, 2017 03:13
|
|
|
Startyde posted:Both of you line up against the wall Calm down, analog jokes will decay into white noise with enough repetition.
|
|
#
?
Nov 22, 2017 03:18
|
|
|
Startyde posted:Both of you line up against the wall i run lines in every direction
|
|
#
?
Nov 22, 2017 04:22
|
|
|
|
| # ? Jun 4, 2024 03:58 |
|
|
Given recent sampler talk does anyone use TAL Sampler? I was looking at their free plugins and saw that their for-cost stuff is on sale. $36 doesn't seem bad at all; that's basically dinner at McDonalds for me, my wife, and my kid now that Trump is president. It seems attractive in that when I was a child my yearning desire in life was to own a vintage synthesizer (I coveted an Emax 2), something I've never achieved to this day. edit: I do have an SK-1 I found on the side of the road
|
|
#
?
Nov 22, 2017 05:00
|
|