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The Lakker track is a good example. At 3:00 you can hear the steady kick verb with the highs wide open. By 3:30 a lot of the highs are gone. From there to 4:00 the attack part of the kick verb disappears and is replaced by a washy verb that pumps on every beat and also on every bar kind of in time with the riffy synth. Then for the next couple minutes it builds up and becomes more and more of a presence in the track through the climax. Then from 5:45 to 6:15 the steady kick verb comes back, and around then washes out with a delay on it, etc etc. Point being, the reverb gets treated as its own instrument with much the same level of care and attention that the lead line would get in a complextro track or whatever. So that is the kind of thing you should be thinking about and trying to accomplish. In all these examples you posted, the melody is unimportant, it's just a vehicle for the techno. So if you're in a state where you're hunting for the perfect melodic part, you're down the wrong road already. A real good idea is to abandon the piano roll entirely and only use stepsequencers. Reaktor, modulars, Numerology, I'm sure M4L these days, are all good for this. Like that Klock tune you linked, the entire track is percussion, a 1 bar loop that wouldn't be good enough for the trashcan in any other kind of music, and effects. For some excellent abstract techno mindset inspiration follow this guy on twitter: https://twitter.com/thetonewrecker breaks fucked around with this message at 11:01 on Sep 8, 2015 |
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Sep 8, 2015 10:52
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One possibility it's that it's just an artifact of how audacity is displaying it, try zooming in on it significantly and see if it evens out. If not, asymmetrical waveforms are a thing. It's not a problem per se except that large spikes like that will probably limit the volume you can get out of the track. It's not uncommon on percussion for example. If it is in a percussion sample and it's causing you trouble, sometimes the easiest thing to do is just get in there with an audio editor and smooth out the bit that's causing it by scaling down a little section of the waveform or whatever. Otherwise pretty much anything that smears phase can help, for example any non-linear-phase EQ or filter, with varying degrees of audibility.
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Oct 6, 2015 01:53
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If you're going to stick with dual-core / a smaller laptop, I think the Air is not too far behind the 13" Pro in performance, so if the form factor is important to you then go for it. Personally I'd prefer a quad core which means the 15" pro, but it just depends on what plugins you use and your tolerance for bouncing / freezing / resampling.
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Dec 26, 2015 08:45
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Yeah it can do both 64 and 32 bit VSTs simultaneously. Not too sure about sending MIDI patch changes, haven't had a need for that of late. I switched over quite a while back because I was tired of Ableton not being able to keep poo poo in time. Bitwig is a lot better about that than Ableton used to be. I've heard Ableton is better now, though still has some issues at least with M4L? Don't know don't care myself really. In general I find Bitwig to be Ableton-like, with fewer features, but the features it does have work better, and there's also kind of a grabbag of oddball poo poo that nothing else really does the same way (the multitouch stuff they added, their MIDI spec for note expression type control and corresponding functionality with Linnstrument and a few plugins, etc). Anyway I think there is a demo available so just give it a try! breaks fucked around with this message at 04:38 on Jan 28, 2016 |
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Jan 28, 2016 04:36
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If you don't mind spending a bit then maybe look into Driven Machine Drums 3, it might be too experimental or varied for you. That guy always does a great job with his drum samples though. There's also a little free demo pack that you can download there too.
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Apr 12, 2016 02:27
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Just think of it as picking the genre you love/wish to write for a particular music project, not necessarily permanently. Make a commitment to stick with one style until you've gotten what you can out of it is the idea. "Writing music" is an impossibly huge space to explore, so this kind of command is just one way of getting you to eliminate lots of territory without much effort. So if you decide that Ratatat-like stuff is the genre you want to write, you get together a little collection of sounds that you like, that is a little bit electronic and left of center, but once that initial task is done you pretty much stick with those sounds. Then all your real ongoing effort goes into a lot of counterpoint study or whatever rather than worrying about sound design issues. If you are doing a lot of sound-design focused music like techno or whatever, people will tell you to stick to one plugin and learn it inside and out, it's the same kind of deal, focus your attention on getting better at some specific thing or technique and not just "music." breaks fucked around with this message at 06:09 on Jun 23, 2016 |
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Jun 23, 2016 06:04
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I don't use OTT but if I am properly reconciling what's going on in my ears and that display, when it's in the green part it's compressing, when it's in the yellow part it's expanding, and in the red part it's doing relatively little of either. So when he turns down the filter frequency in that first sweep after the linked timepoint, the high end is getting massively boosted by what appears to be ~30 db which is why the frequency balance seems all hosed up from what you'd normally expect out of a lowpass, and thus a bit fm-y. breaks fucked around with this message at 07:51 on Apr 27, 2017 |
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Apr 27, 2017 07:47
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On the second sweep he was using some combined filter mode, I think it was 2p notch 1p high pass 1p low pass, you can get something like that out of xpander style filters or other flexible filter setups. And the heavy multi band compression/expansion is probably having some effect there again but I don't have the video in front of me at the moment.
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Apr 27, 2017 18:59
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Yeah I agree, I researched it and played around with it a bit and apparently it is actually based off a preset in Live. The important thing about it is that it doesn't only compress, it also expands quiet things. It's basically one of those magic knob settings that is weird and massively strong and also usually doesn't sound like you hosed something up. I mainly posted to say though, I hope my earlier posts didn't sound too dismissive or obvious, but with this kind of thing it really is about just using simple settings on the right combination of stuff. There is nothing crazy complicated going on, if you are using 10 plugins in a row you're doing it wrong, as often is the case it's just a matter of putting the knobs in the right place with a couple of the right devices. Also I guess I repeated some stuff from an earlier reply, sorry, I was phoneposting when I wrote my previous post. breaks fucked around with this message at 06:38 on Apr 28, 2017 |
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Apr 28, 2017 06:30
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I think there is a lot of value in minimizing the number of tools you use, especially at first, because it helps you maximize what you can get out of each one. By all means explore other options if you like, but you shouldn't feel like anything is wrong with sticking with what you've already got. I think a good point to explore other options is when you feel like you haven't been improving for a while. Not that something new will make you better in and of itself, but that's a good time to broaden your horizons.
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Jun 30, 2017 02:47
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License transfers are allowed for Live. You don't get as quite as much for license transfers as you do for used hardware, but because Live is so popular it's not that far off and is also easy to move, unless things have changed a lot the past couple years. I don't recall if they allow transfers of transferred licenses but if it's not in some FAQ on their site I'm sure they'll tell you if you ask them.
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Nov 10, 2017 10:56
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