|
THEY'RE HERE!!! Trip report/acid jams to follow.
|
#
¿
Mar 22, 2014 21:57
|
|
|
|
| # ¿ May 7, 2024 23:46 |
|
|
Just went live with my TB3 and TR8 for about an hour; meant to post this but hit the post limit - oh well, the recording is saved at least. http://mixlr.com/centurion-beats/showreel/because-gently caress-you-thats-why/ Mister Speaker fucked around with this message at 05:08 on Apr 3, 2014 |
|
#
¿
Apr 3, 2014 05:04
|
|
|
^ Yes, I have two tracks of some stock drum loops synchronized to the clock from the TR8. Some of them are still slightly out-of-time, swung etc.; I need to do a bit of editing. Thanks for listening!Sizone posted:Woah, hold on a sec. Is that a Herbie Hancock Rockit beat coming in around 14.20? That's a crazy thing to have as a preset beat. See above. Sorry, that was kind of misleading - it's not just the TR8/TB3, I have some stuff going on in Live as well.
|
|
#
¿
Apr 3, 2014 18:39
|
|
|
Radiapathy posted:So, how are you guys integrating the Roland AIRAs into your rigs? USB sounds like it's the way to go for full functionality- especially for the TR-8, but anyone who already uses an audio interfacee is going to have to get creative to use the TR-8 effectively, at least on Windows. Honestly, I just use the stereo outs on my TR8/TB3 into my audio interface. The way I see it, the TR8 has a bunch of faders so gently caress, I'm gonna use 'em (I really like submixes). I imagine I might use the USB outs if I were producing _tracks_ with it, but I have all the 808/909/etc. samples I need on my desktop computer and that was never the intent when I bought the TR8 anyway. In my Ableton rig, which I basically just refer to as 'deck five' routed into my DJ gear, the TR8 is actually the MIDI clock master - because I've had mixed experiences with using Live as a sequencer/master clock for anything (something I find really ironic). I have a MIDI splitter which so far is just sending the TR8's output to the TB3, KP3, and Live. Start/stop on the TR8 rolls transport in Live, starts the TB3 playing and sends clock to the KP3 to sync effects. Naturally, the TB3 is muted until I want it up, and I have the KP3 on a pre-fader return with sends from the TR8 and TB3 - this way I can have fun slowly bringing the TB3 into the mix with the KP3's TalkFilter effect (my favourite). Ableton has some stock drum loops - Amen, Think etc., that I should probably trim down to the bare essentials. I had to incur some negative delay compenation in Live to get the loops triggering properly, and they're all in 'Repitch' mode. This probably saves some CPU, but it also makes things really fun when winding down the tempo on the TR8. As far as mixing goes, I'm sending the TR8, TB3 and an open channel for my roommate's looper or some other piece of expensive robot-fart gear to one channel on my DJM900, and the loops to another. It's really really fun to get someone in who knows what they're doing, and jam with them over top of a DJ set. As I've only really used the TR8's master outs, I cannot comment on whether it is 'locked' to that sampling rate/bit depth. Yes, that is the actual manual. Either I haven't figured it out yet, or Scatter is useless.
|
|
#
¿
Apr 14, 2014 20:39
|
|
|
I'm taking another crack at resampling basslines, and I'm again experiencing nothing but frustration. I swear, I do this every six months. I understand the process, how to get grit and movement etc., but can't wrap my head around how to turn all that grit and movement into something melodic - even if that melody is nothing but fifths and minor thirds. I've been getting some interesting throbs, wobbles and other-moving-things straight out of my Virus lately, but getting a sampler involved, the order of 'sample bass sound>modulate>resample>modulate>create rhythm/melody' eludes me. How do I handle (or abuse) the limitations of a sampler's time-stretching algorithm? With naturally beating detuned saws, how many notes do I sample and how do I treat them to create rhythm from that beating? When employing envelopes, automation and tempo-sync'd modulations that create rhythm in a resampled sound, how do I take into account melody? This is all a bit of word salad. I've been trying to crack this 'neurofunk' sound for ages, and I guess I'm just getting really frustrated that all of my attempts at resampling seem to lack the cohesion of patches straight out of my synthesizer.
|
|
#
¿
Apr 23, 2014 00:42
|
|
|
WAFFLEHOUND posted:Basically the TR-8 is eh and the TB-3 is unreal, but not entirely for the intended reasons. You know, I hadn't really played around with the Scatter function on my TB3... I just tried the TR8's and basically wrote the whole thing off. Gonna play around (and create more user patterns) tonight, thanks. They're super fun though, aren't they? I can't want to bring 'em to an appropriate gig and just wank. On the home front, I'm still having frustrating problems with this resampling thing. I know I post way too much about this poo poo but it's driving me crazy. I get all the technical aspects and the process but applying it creatively just falls flat. Maybe I'm just not creative. 
|
|
#
¿
Apr 30, 2014 20:43
|
|
|
A MIRACLE posted:It's down to a TR-8 and a used R8 for $180 on craigslist for me. The TR-8 looks like it will be easier to sequence in a one-handed / live setting so I'm leaning that way. But the R8 looks like a fuckin tank and has tons of outputs so I'm torn. Just get the TR8, man... You will have loads of fun with it, and it's absolutely possible to program one-handed - basically every time I fire mine up, I have some sort of >7% beer in-hand. It's light, but it feels pretty rugged - the buttons could stand to be firmer but that's my only complaint. Maybe find a way to cover the Scatter control with some sort of cupholder?
|
|
#
¿
May 30, 2014 02:57
|
|
|
Moog's Rogues is still the cleverest
|
|
#
¿
Aug 20, 2014 21:36
|
|
|
djkp posted:My favorite synth is my Alesis Andromeda A6. Where do you live, I'm coming to rob you. They're so expensive now...
|
|
#
¿
Sep 3, 2014 03:56
|
|
|
I'm going to be purchasing forums user dj bobby bieber's Rocktron Banshee talkbox. I'm very excited to test it out with some 'neurofunk' timbres, to see if I can't get some unique modulation to inspire some heavy D&B basslines... But I also have to pay tribute to the classics; what are some of the OG sounds to put through a talkbox for that Roger Troutman sound?
|
|
#
¿
Sep 10, 2014 17:25
|
|
|
I know you modular fags don't much care for commercial 'EDM' but I've been quite enjoying the new Knife Party single and the main synth patch (in the Drop) has peaked my production interest. I know the solution is pretty simple because I've come across that timbre by sheer accident before. Is it Oscillator Sync???
Mister Speaker fucked around with this message at 08:18 on Sep 17, 2014 |
|
#
¿
Sep 17, 2014 05:46
|
|
|
Is there any more information about KORG's new Electribe boxes? I read the specs on the Sampler and my gearboner flared up, but I can't find anything but some product demo video in Italian... And my Italian is limited, mostly to dirty words and gestures. Edit: While I'm here, I might as well ask; I've been playing some of the original Deus Ex and naturally the soundtrack is bringing back memories. The sound palette is distinctive like it could be a preset library - anybody know what synths were used for that soundtrack? Mister Speaker fucked around with this message at 05:52 on Oct 28, 2014 |
|
#
¿
Oct 28, 2014 05:49
|
|
|
So I'm looking to expand my 'live' rig and actually do some live performing. Basically here's where it's sitting right now: TR8 is the tempo master (via a MIDI splitter) and handles most of the drums. TB3 for all the 303 stuff, obviously. Ableton laptop has some effect routing (a delay/reverb for splashing things out, as well as a send/return to my KP3 for multi-effects) and two tracks with about 50 classic breaks in them - and some optional EQ/compression/sidechaining to keep the external gear in line. My interface is a Traktor A10, but I have a couple of templates for different I/O setups; single output pair with cue out, multiple output pairs - even a direct template for my DJM900 as an audio interface, in case I ever play in a venue with a DJM that doesn't have its Nexus functionality utilized. Anyway I'm looking for a synthy companion for my TB3. I've been looking a bit at these new Electribe units, but there isn't enough information on them yet. I'd like something compact, that can do arpeggios, spacey sounds and stuff that evolves, really well. Idiot-proof is a plus; I don't have much actual keyboard skill beyond knowing how to find a couple of intervals from the tonic. Also a plus is multiple outs (and ins!) as I have a talkbox that I'd like to use. I've been musing on some Elektron gear, and a DSI Evolver/Poly-Evolver as well but can't figure out which piece would best serve my purposes. Thoughts? Mister Speaker fucked around with this message at 09:07 on Dec 9, 2014 |
|
#
¿
Dec 9, 2014 06:56
|
|
|
Jesus loving Christ I picked a bad time to ask you geeks for advice. I have a TR8 and a TB3, and I'm not much of an autist so they're good enough for me. Can anyone recommend me a relatively-compact, polyphonic synth that does sequences, arpeggios and evolving sounds well, to integrate into my live rig (which I described in my last post)? I'm leaning towards an Elektron A4 but I don't know why.
|
|
#
¿
Dec 10, 2014 07:06
|
|
|
WAFFLEHOUND posted:I have actually had people come up and tell me they're huge fans of my music and on one occasion a high as poo poo dude followed me around a nightclub freaking out that Moby was there. Oh now I get it. For a minute I was actually a bit excited too. Yeah you do look a lot like him. I have one buddy who keeps telling me I look like Andy C but that's way more off the mark; I just wear baseball hats and headphones and don't say much. Thanks for the advice for my live rig, guys. I'm still kind of torn on options - do I want a keyboard that I probably won't ever use? Are extra outputs important or will I just eat a mono out from my interface, or simply leave the Banshee talkbox at home? I think I need to go back to my old ways and spend an afternoon at Moog or L&M testing out gear and irritating the employees.
|
|
#
¿
Dec 10, 2014 23:10
|
|
|
Sizone posted:Moby might still have an Rm1x adorned with Rainbow Dash stickers that he might be willing to sell you. If Waffles is selling that poo poo, I'll fight you for it.
|
|
#
¿
Dec 17, 2014 10:16
|
|
|
net work error posted:My understanding was just that clownstep was jump-up turned to 11 and was more a joke name for it? Yeah that's what I thought, too. Stranger names for genres have been legitimized though, I mean look at Big Room House. You want to see some stupid loving subgenres, check out the Trap music thread in NMD.
|
|
#
¿
Dec 22, 2014 20:59
|
|
|
Well, someone suggested a few pages back that I take a look at the Novation Ultranova, so I went and bought one. It was a floor model at L&M so I was a bit displeased to find that it was missing its AC adaptor and USB cable, but it works on bus power and I have too many USB cables lying around so I've been playing around with it for the past few hours. I'm going to build a desk for all of this live performance gear, since it's getting a bit ridiculous. I like this thing, though! Its plugin editor is even more straightforward than my Virus TI. I love the lines indicating signal path, it reminds me a lot of Reason's THOR synth which I loved. I've been spending most of my time integrating it with my Ableton rig so I haven't actually really delved into it as a synthesizer, but a lot of the presets are glorious (especially the arps) and it's got a pretty nice filter section. One thing that does get to me a bit, is that the thing doesn't play ball with external MIDI sync too well. I've tried it with USB from Live and with MIDI directly from my TR8 (tempo master) and its arpeggiator drifts out of sync. I'm wondering if there's a way to fix this, but then again I remember the Virus had similar timing problems with its arpeggiator. Also, I'm unable to 'preview' patches unless the transport is running, even non-arpeggiated patches won't sound unless I've hit play on my TR8.
|
|
#
¿
Jan 8, 2015 04:28
|
|
|
That reminds me... Buy a laser-cut rendering of the Amen break! I know it's not technically synths but some of you will definitely appreciate that.
|
|
#
¿
Feb 11, 2015 10:04
|
|
|
Radiapathy posted:Nah man, he cracked the code: Pots and pans samples. I just raided my gear closet (a.k.a. "kitchen cabinet") for a recording session. I actually bought a Zoom H4N basically for this purpose. I work in a kitchen, but I haven't gotten around to sampling anything yet.
|
|
#
¿
Feb 19, 2015 00:51
|
|
|
What happened to the TR808 that wore a life preserver in the pool? It DIN SYNC
|
|
#
¿
Feb 25, 2015 03:57
|
|
|
toadee posted:Compression is like it's own artform/texture. Mr Oizo uses his compressors like another instrument. The response is actually really hard to fake, it goes way beyond simple volume up/down. I think wayfinder was more talking about surgical compression, not compression-for-effect. I'm inclined to agree; I've always found better results reigning in problem notes from my synths with EQ or note velocity. But yeah, finding the right compressor for effect purposes is absolutely a creative exercise. Different compressors have different response curves, release envelopes and handle ratios completely differently. For example, I've always found something funny about Ableton's Glue compressor (which has fast replaced my SSL bus comp as my favourite parallel/sidechain comp). For some reason I seem to get pushier compression out of it at a 2:1 ratio than at 4:1. The GR meter even bounces further down, like the threshold curve is variable depending on the ratio. I particularly like this comp in a 2:1 for pumping sidechain purposes. The reverb thing is a whole other ballgame. If you think you can get excellent-sounding reverb out of filter/amp envelopes and stereo imaging alone, you're crazy. There's so much more to psychoacoustic phenomena that can only be fooled by proper understanding of ER, predelay, transient response etc. etc. So yeah, FX good.
|
|
#
¿
Feb 27, 2015 00:58
|
|
|
Sizone posted:What's up with the homemade
|
|
#
¿
Apr 21, 2015 05:11
|
|
|
Something I was musing on the other day onto which I'm sure some of you can shed some light: I'm sure this exists somewhere but I'd like to play around with an tempo-sync'd LFO that has different note values depending on the incoming MIDI note, ideally with a glide function to smoothly change the rate. This occurred to me the other day when I was listening to some liquid D&B that had rate-modulated filter or volume oscillation in the sub bass adding rhythm to the bassline. I know this would be easy to do by drawing in automation over a written track but for jamming/experimentation purposes it'd be neat to have a MIDI-controlled LFO that will do this automatically. Is this already a thing? I reckon someone's probably made a M4L device that's exactly it. Of course I don't write poo poo anymore but I think it would be cool to play around with.
|
|
#
¿
Nov 30, 2015 21:48
|
|
|
Crossposting from the Gear Trades thread: Access Virus TI 2 Keyboard  It's finally time to admit the fact that I don't really play keys and as such have no need for a 61-key synthesizer occupying my desk space. Especially when I have other gear collecting dust that would be right at home on the desk. I'm in love with the Virus sound and TI plugin so I will definitely be downgrading to the keyboardless Desktop model - I would consider trading for one and a bit of cash. Comes with box, cables and manual. Mint condition, a little dusty. $2200(CAD) OBO
|
|
#
¿
Feb 25, 2016 21:37
|
|
|
Hey someone buy my Virus. Goon discount available, shitloads of soundbanks and patches included.
|
|
#
¿
Mar 7, 2016 19:41
|
|
|
Kilmers Elbow posted:That thick layer of dust really says 'buy me!' Yeah I probably should have cleaned it off. Perfectly functional though.
|
|
#
¿
Mar 15, 2016 18:01
|
|
|
Just said goodbye to my Virus TI2. It was a bittersweet farewell but I'm confident she's going to a good home. Realistically I wasn't playing all 61 keys, I have an UltraNova and Ableton Push to handle my noodling and I could use the desk space to actually use those two things. I'm going to look around and see if I can't find a TI2 Desktop on the cheap, because while I didn't really play much, I fell in love with the Virus sound and interface. But who knows, a trip to Long & McQuade or Moog tomorrow could result in some other bleep-bloop purchase(s)...
|
|
#
¿
May 13, 2016 17:32
|
|
|
How would I go about creating a really eerie, dissonant choir sound reminiscent of the Alien soundtrack? I know a lot of that creepiness lies in the intervals and pitchbend but it's a sound I've always wanted to nail down. Ideally with my synth but if it won't yield a convincing timbre I'm open to samplers as well.
|
|
#
¿
May 24, 2016 03:21
|
|
|
This is a crosspost from the unofficial Access Virus forums, figured I'd ask here as well in case anyone has any ideas...quote:I'm having an issue with audio dropouts from my Virus TI Desktop. I might take this to the Interface thread as well, since I'm still not entirely sure the Virus is the culprit.
|
|
#
¿
Mar 7, 2017 06:38
|
|
|
magiccarpet posted:You might want to experiment with putting some powered hubs in various places in your setup. I've heard conflicting things about connecting the Virus through a USB hub - some say it works better through one, which seems backwards. Anyway I'm running mine directly into my Mac and I think I've found a setup that works... most of the time. Avoid putting any MIDI in the track containing the VC plugin - even though record-arming it will allow you to play part 1, instead mute/disable its I/O and create a MIDI track for part 1 just like you would for the next (up to) fifteen. There must be a conflict between how the VST track handles MIDI and how the dedicated MIDI tracks do, but it's solved the 'Virus cutting out entirely' issue. ... But it's still glitchy. Copying/pasting/moving MIDI regions around from track to track causes certain parts on the Virus to stop responding. They still receive MIDI but they produce no sound. I'm wondering now if this is a problem within the Virus or something within Live's handling of outbound MIDI itself. Anyway, it's better than losing the thing entirely, so it's a start.
|
|
#
¿
Mar 8, 2017 02:51
|
|
|
So Math posted:I distinctly remember my high school band director showing us a video of an electronic wind instrument performance and thinking it was the coolest poo poo I'd ever seen. Grats! https://www.youtube.com/watch?v=2tIwYNioDL8 How about now? (skip to 03:10 for Dawkins EWI performance)
|
|
#
¿
Mar 9, 2017 01:43
|
|
|
I think it's time to finally sell my Virus. Last night I had an old friend over with the aim of getting some inspiration going and maybe starting a new collaborative project. I'd been away from writing for months. Almost immediately I remembered a primary source of frustration that would quickly break down any inspired moments: The TI just does not get along with Ableton Live. I spent a few hours chatting with friends about other DAW options but today I think I've come to the conclusion that I love Live's features and natively-setup hardware way more than the creamy hypersaws and odd wavetables on the Virus. This is a really, really tough call to make as I've had the thing for about eight years... but I think that for the sounds I want to make, there are loads of cheap softsynths that do the job way better these days, and keeping a $2500 synth that only serves to give me headaches is financially unsound.
|
|
#
¿
Jul 27, 2017 23:10
|
|
|
dj bobby bieber posted:Yep - this is why I departed from Virusland. I sold it and spent a ton of time learning Massive, which I thought was completely worth it. I do love the Virus, but yeah, TI is wonky. I know Massive like the back of my rear end but avoided it for years out of some "I'M gonna do things MY way!" hipster elitism that never worked out for me anyway. I think with the cash from the Virus I'm gonna buy Serum since those stupid neuro sounds seem to be cake with it... But there's gonna be a hole on my desk and a hole in my heart for some time.
|
|
#
¿
Jul 27, 2017 23:42
|
|
|
Posting in here again due to curiosity and nostalgia. There's a synth sound that I've heard in a number of places, mostly 1990s film and game soundtracks - in particular, Eric Serra's GoldenEye soundtracks reek of it. It's common enough in Serra's work and others though, that I'm sure it's a preset from some FM synth or something. That's why I'm posting it here, not in the 're/create a sound' thread. I'm talking about this, at around 1 second in on the third beat, that hollow metallic percussive sound. I've always had it in my head as 'porthole sound' since childhood, since it reminds me of... I don't know, submarines or some poo poo. Anyway, there's got to be someone in here that can shed some light on this patch.
|
|
#
¿
Nov 8, 2017 06:36
|
|
|
rickiep00h posted:According to the comments on the vid: Gee do I ever feel silly. Thanks!
|
|
#
¿
Nov 8, 2017 07:37
|
|
|
I want to do more interesting things with simple sines and layers of distortion. Simple saturation isn't enough; I want to explore the kinds of effect chains and parameter modulation that can create complex harmonics and gritty textures out of one single sine. The problem is, most often I just end up overdoing the saturation part and getting squarewaves, or any sort of movement or time-based effect I add in an attempt to coax weird harmonics ends up a sludgy mess. I can't seem to nail down a process for turning a simple sub bass into an evolving project. As you might have guessed, this post was heavily-inspired by my recently-rekindled fascination with the DOOM soundtrack. I also have a sneaking suspicion some of my favourite D&B right now is constructed in a similar way - not with mountains of detuned oscillators or FM, from the ground up by bussing out the sub bass to judicious effect chains. Any ideas for starting points with this kind of thing? Particular time-based effects like phasers, and how to employ them to coax out harmonics/inharmonics from a sine? In what order to stack them against saturation effects?
|
|
#
¿
Aug 17, 2018 04:30
|
|
|
Right, I know that running directly to a phaser or flanger isn't going to do much to a simple sine, harmonically. So here's the approach I'm starting with: I'm going to throw some of Live's basic saturation - 24dB of Analog Clip mode to start with some simple warmth - at each 'return' track for the sub, then highpass them all immediately after, before throwing more interesting saturation and playing around with time-based effects to create harmonics. Question about highpassing: What's the most transparent way to do this in Live? HPF Auto Filter set to 120Hz? I see a lot of people using Multiband Dynamics as a simple crossover, is this because it's linear-phase, or 'cleaner' in some way, than using a filter?
|
|
#
¿
Aug 17, 2018 21:40
|
|
|
NonzeroCircle posted:The other thing mick does is layer some modulated noise over the sine that is in sync with the sine frequency. This is interesting, thanks. I've tried it and ran it through some of the effect chains I created the other night for the sine. One of them in particular has some of the 'scream' qualities present in some of the dronier background noises in the DOOM soundtrack, I can't seem to get any decent 'crunch' and 'twist' out of it with the noise on top though. Do you think this is possible to do in a synthesizer like Serum or is it one of those things that can only be done through combining the noise and sine through a sampler? I'm thinking maybe using a keytracked LFO to modulate Serum's Noise OSC volume, the issue is getting the keytracking right - Serum's LFOs go up to 100Hz which should well be fast enough provided I'm staying in sub ranges, no?
|
|
#
¿
Aug 18, 2018 22:20
|
|
|
|
| # ¿ May 7, 2024 23:46 |
|
|
I bought my Virus TI2 back (well, not the exact same one - actually I guess it's possible, and that'd be pretty cool) because I had the ducats to spare and missed it so dearly - issues with Live be damned. But to my dismay, I found that when I initially sold it, I deleted all of the patch banks I had bought and made over the years... how stupid of me, it was only a 2.5MB folder. Then today a friend messaged me with a picture of a folder on his Mac - all my old patch banks!!! I'm eternally relieved and grateful; I will buy him all the beers for sending them my way. Anyway that's my story.
|
|
#
¿
Dec 29, 2018 20:40
|
|