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Looks like a good start but idk I can't help but feel like you could use another analog mono or two. You know, just to cover your basses. Do you have the inputs for like a x0xbox and maybe a BassStation 1 on the rack? Or maybe a Volca Bass going to the Line In on the laptop? A Microbrute?
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Apr 4, 2014 07:21
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net work error posted:So on a similar DSI note, I'm thinking of replacing my Mopho but I'm not sure what monosynth would be similar and have as much functionality. I dig the Mopho but the menu diving drives me mad (and don't say use the editor because it's frustrating too). If you're not trying to get away from DSI, what about an Evolver? A lot of stuff is the same but it's way deeper and it's easier to program even with the matrix thing just cause everything's at most a shift key away. Way more flexibility too- it's got a bunch of Prophet VS waveforms on the digital oscillators, much more interesting distortion options, better sequencers, and the delays sound amazing.
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Jun 20, 2014 20:40
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net work error posted:I found a Mackie 1402-VLZ PRO mixer for fairly cheap on Craigslist locally, any thoughts on it? It would be used for synths only pretty much (obviously) so I think that it would be a good get. I have one of these and I like it a lot. You can get some cool distortion from the mono preamps and the mute bussing is really handy. I don't like that you only have mono outs for the sends and I wish there were more stereo channels but those are my only real complaints.
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Dec 11, 2014 01:35
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MrLonghair posted:Roland S-550 sample library, and raw .wav conversions thereof: https://mega.co.nz/#!yN03hCJZ!GW_fQ9R3-kbkHi5fa_O6HWiuIBRckRhI_43ICWwansI Thank you! I love stuff like this.
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Jan 25, 2015 10:04
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Sizone posted:It's like that for every synth, you dead gay baby. Think about it, you gently caress with the attack setting on an envelope, you ain't gonna hear a difference until you trigger a new note. Wait, uh, what? Every analog thing I have does this, I thought it was part of how VCEs worked? I just tested it (on an Evolver) to be sure- moving the attack from full to none while the envelope was triggering definitely did something, and most of the other settings were way less subtle. It's a really nice feature to have when you're programming. Unless I'm completely misunderstanding your point. Sizone posted:Or lfo phase or, Couldn't do this but it feels like the exception, not the rule.
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Mar 24, 2015 06:31
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Ah, okay, yeah I was completely talking past you. I thought Dead Gay Baby was complaining about not hearing any response from tweaking stuff til he re-triggered (not essential, but you can get some cool sampled sounds with it and it feels nice dialing in a patch), not worrying about how accurate it would sound.
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Mar 25, 2015 06:29
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Trig Discipline posted:Seriously though look around Youtube a bit for Bitwig modulation tutorials, there are some pretty insane possibilities. The four big modulator devices are LFO, Step Mod, Audio Mod, and Note Mod. The first two are pretty self-explanatory, but the last two slightly less so. Audio Mod lets you use the volume of any audio track to modulate any parameter(s) of any device in any other track. Want to use your kick drum to modulate the reverb on your strings? Two clicks and you're laughing. Note Mod does the same sort of thing with MIDI note data, so you can use the notes coming from one of your tracks modulate parameters of any effect in any track. The level of sonic fuckery that enables is awesome, and the fact that it's seriously just a couple of clicks to do any of that is what really sells it - if you can think about it, you can do it in a couple of seconds. My one complaint about the automation is that some of Bitwig's promotional material seems to imply that you can modulate MIDI messages themselves (velocity anyway). If you really can, I haven't figured out how. That's a bit of a shame, as it would allow an easy way to use step mod plus some randomness to humanize drum tracks in very flexible ways. Presumably they're working on it, assuming it's not just hiding somewhere in the program. Trig Discipline posted:Oh you can also use modulators to modulate other modulators, so you could for instance have the volume of your audio modulate the depth of the LFO that is modulating the volume of your reverb. Or something. I bet you could make an entire FM synth setup just out of Bitwig's builtin modulation system and a single test tone, if you were spergy enough about it. God, thats like a dream come true.
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Apr 7, 2015 00:44
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Been rediscovering my x0xbox and MPC this week. I love playing the x0x with the pads, the way it does decay, accent, and ties in real time is a lot of fun to mess with and you can get some really wild (good) results messing with the tempo and some distortion. Controversial opinion- x0xbox is a better instrument than the 303 for everything other than purist acid cause it does midi right out of the box. Though I just saw this and I am drooooling https://www.youtube.com/watch?v=CgouFA0w3ns Would midi processing boxes let me do similar things? Looking at the portamento and LFO stuff mostly. I have a feeling control voltage gets implemented in a way that works better for that stuff... but I'm hoping I'm wrong! net work error posted:But what if synths WERE anime?! (excluding VOCALOID stuff) An exciting world it would be I tell you where I could call a synth my waifu and nobody would bat an eye lash and would instead be in total agreement as they drew fan art of their Virus C. This is me and my Evolver already so I'm basically just waiting for the world to accept us
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Aug 28, 2015 06:31
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W424 posted:Volca bass is a better instrument than 303 for everything, acid is retarded. Bad bad synth opinions here. You're mostly right on the first half but a.) the (pick one) minimoog, virus, prophet 5, DX7, evolver, etc etc is better for everything than the volca bass is so like who cares and b.) almost everything but it's not better for 'making 303 sounds.' which is the whole point of 303 clones anyway. But you don't like acid anyway so this is like trying to convince a blind man the sky isn't green.
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Aug 28, 2015 08:18
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 This is what I was hoping the TB-3 was gonna be. Having a real hard time fighting the GAS, thanks yoozer.
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Aug 29, 2015 03:03
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toadee posted:What is everyone working on these days? This is cool as hell, thanks for posting! Really like the half time-ish section in the middle.
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Oct 7, 2015 17:25
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Electric Bugaloo posted:Is it just the Type 1? I thought the Mini was the one with the internal jumper that forces you to choose one from the outset/take the unit apart to switch the filter between Rev 1/2. Muffwiggler says just the Type 1 on the mini, there was a rumor there'd be both at NAMM 2013 (with the jumper like on the kit) but apparently it got cut. PWM seems easy to mod in at least though. Anyone have any good MS-20 filter comparisons? How do they compare to each other/the Microbrute?
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Nov 12, 2015 19:07
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Thanks, that's perfect - about halfway through here for anyone else looking https://www.youtube.com/watch?v=bcBPnOtsyp4 I think I like 1 better but I'd rather have both.
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Nov 13, 2015 04:40
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Microbrutes are sick. Don't bother with the Volca Bass (unless down the road you realize you need a 3 oscillator mono, perhaps to run through your Microbrute's filter, which is making me think I should take mine out of the box again) (Or you have really small fingers). http://www.soundonsound.com/sos/feb14/articles/arturia-microbrute.htm That review felt 'correct' to me, having used one for a year and a half or so- it compares it to the Minibrute too which might make more sense as a first synth, depending on what your goals are. The Microbrute sounds loud and noisy in a lot of very cool and unique ways but it's definitely not as flexible as the typical monosynth, which makes it a bit weird to learn stuff on. Speaking of- what are you trying to do? That's gonna determine your setup. Are you playing in a band? Looking to record yourself? Sequencers/external control/etc are much more or less important depending on what you're gonna be doing with it (but goooood luck predicting that- I never in a million years thought I'd end up with the set-up that clicked). AxeBreaker posted:I'm coming from a different perspective than you, wanting to do live EDM. But being performance oriented you should really consider some higher end gear in your equation. Specifically, the $1500 ish Moog sub-37 or the ~3K DSI Prophet-6. The first is an analog monosynth with a duophonic mode where each osc can play on a different key. The second is a 6-note polyphonic analog polysynth. Both have digital controls and patch memory so you can easily recall patches between songs, or on different days when your working on something. I've heard too many tales from pro musicians (andmittedly on video) about the struggle to re-program old Moogs and ARPs and the like between songs. Just to be clear (and I'm hoping I'm misinterpreting), you absolutely do not need to spend over a thousand dollars to get digital patch memory. The Microbrute's not gonna be the best choice for accurately re-creating multiple patches during a live performance (though tbh it's simple enough that the Moog/ARP comparison isn't really that apt), but there's a biiiiiig gulf between that 1.5-3k (admittedly, great sounding) modern analog flagship synths. Especially with those Roland boutique releases floating around (or hell theres gotta be a ton of use Prophet 8s out there now). And another piece of advice- buy used!
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Nov 15, 2015 22:15
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You can get used K2000s in that price range too fwiw
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Dec 19, 2015 07:41
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Do any of the new Roland boutiques have a supersaw? Been craving a JP-8000/8080 forever but prices keep going up and the supersaw is the only thing that I can't get elsewhere. Literally just looking to do cheesy trance riffs/pads... though anything extra would be cool. Otherwise theres the SH-201 and the SH-32 right? Anything else?
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Dec 30, 2015 03:02
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Really looking for The Real Thing at this point. poo poo, I thought I read something saying one did- would explain why I couldn't find it googling at least.
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Dec 30, 2015 05:01
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0dB posted:System 1 does a supersaw. AH- it was probably that. 0dB posted:I didn't know that 8080's were that pricey? They're not SO bad but I still feel like they should be maybe $350 (and I'm mad I passed that up a few years ago). I'm pretty happy with the options I have for pretty much everything else it does so I'm not so eager to spend what it's actually worth...
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Dec 30, 2015 05:12
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Blofeld chat: does this sound like a software issue? I figured it was something I had to get repaired but maybe not... The left one of the main encoders (the 2 under the screen, not the matrix) is TERRIBLE at picking up motion on short range lists like arpeggiator modes/directions, etc. It can do 0-127 just fine and some shorter ones, but no matter what I do I can't figure out how to get it to change. I've had it suddenly go once or twice, but I've also pawed at it for a while with nothing. Haven't done a single update on it, haven't felt like I needed to (though if it helps the output that might be worth it as well). HMMMMM....
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Jan 19, 2016 23:05
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Flipperwaldt posted:Try the firmware update first, encoder behavior was addressed in 1.22. Really nothing lost by trying that. It worked! HY (and ty)
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Jan 21, 2016 05:59
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sliderule posted:Didn't he day it was sysex compatible? There are a ton of resources for the DX7 already.  Looks like it by the plaque. Chorus too! I'm hype as hell.
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Jan 22, 2016 07:45
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Electric Bugaloo posted:Apropos of Roli and "uniquely expressive controllers" in general: This is SO cool. Even just for wire mess (assuming it works as well as cables do). Really excited to see where this heads.
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Jan 25, 2016 22:09
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A MIRACLE posted:I still haven't figured out how to flip between sequences on the mpc 1000 for live play. I'm not sure if you can Get JJOS, then just switch to the next sequence when one's running. It'll cue it up idk how to do it without JJOS but there's probably a way but get JJOS anyway it's really good e: http://www7a.biglobe.ne.jp/~mpc1000/
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Feb 18, 2016 21:02
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I've got a 2500 so it may be different but try the "NEXT SEQ" button by the pad bank select, it assigns sequences to the pads (16 per bank x 4 banks in order) and lets you cue from there. I haven't played with it too much but it looks like it does the same thing as changing the sequence while playing, just with a better interface
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Feb 18, 2016 22:33
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got a real dumb question: if I have a patch area that normally takes TS patches, can I use TRS cables? Microbrute and MS-20 mini if it matters.
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Feb 26, 2016 07:39
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sofullofhate posted:Yes. You may lose significant signal though, depending on how the TS jacks are manufactured. ty, and shoot. Though typing this out I thought of a better solution to the problem I was running in to - instead of using a long aux cable to get a midi synced LFO I'm gonna just send a click signal to the clock from something using a 1/4th to 1/8th cable I have sitting around. Puppy Galaxy posted:"If I didn't start talking about immigration it wouldn't even be a subject right now." Would really love to hear the remaining candidates' opinions on acid/the best 303 clone. Rubio's a TB-3 guy, Kasich is a Bassbot, TB-303 is either Cruz (biggest purist) or Trump (conspicuous consumption). Trump might be a Devilfish w/ extra LEDs.
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Feb 27, 2016 02:06
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A Winner is Jew posted:Trump would be a CS-80 or Jupiter-8 man. poo poo, no, he's the GX-1 A Winner is Jew posted:
Cannot argue w/ this, right down to the launch campaigns (or campaign launches)
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Feb 27, 2016 09:35
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Scatterfold posted:Ah yeah it's a ladder filter, isn't it. Forgot about that. That'd do it. All ladder filters are like that right? What other filter architectures are there? There's Steiner-Parkers (which add resonance rather than attenuating so they overdrive easier) And thats all I think I've ever heard of
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Mar 5, 2016 06:59
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Scatterfold posted:Oh blimey there's a few. Off the top of my head there's: Some of those are interchangeable/combinable right? Like could could have a fixed filter that was a ladder circuit? But sounds like the easy answer I was hoping for isn't there.
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Mar 5, 2016 22:02
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Zarithas posted:Any tips for sound design with the volca fm or DX7, or general FM synthesis? I get the theory and have watched some tutorials, but I'm still struggling to get from point A to point B when I have a specific sound in mind. Especially for specific unnatural/weird sounds. With specific sounds I had okay luck looking up tutorials for programming similar sounds and figuring out how to get the parts I wanted by recreating and messing (I did this with e piano patches a lot) but I never felt like I could think of, and then generate a sound like I could with more straight forward synths. Modifying presets works as well. But I had the best luck with just getting rid of my ideas about making specific sounds, and just finding operator ratios I liked and pressing buttons til something cool happened. I'm kind of doing that right now, actually, mashing refresh on my Volca FM tracking number Transistor Rhythm posted:Detune the voices from each other, try different algorithms, crank up the feedback, turn up the LFO but turn up the LFO delay so it fades in later on, consider using a software editor that can transmit to it. Excellent tips and username
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Apr 15, 2016 20:15
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64bit_Dophins posted:This probably isn't the right place for this question but it is related to synths so here it goes. I've had a whatever Furman power conditioner and run into 0 issues. Everything "rack" without qualifiers is standardized to the 19" format, and stuff is sold by U (rack units) - essentially, how tall the faceplate is. It's a common format with computer/IT hardware as well. So, a 1U rack thing is 1U times 19". The whole idea is its completely interchangeable, so pick whatever works - as long as it's deep enough. I wanna say a Slim Phatty is 3-4U, most effects processors are 1-2, and mixers are who knows. Good luck!
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Jun 11, 2016 02:43
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Mixers with sends can help with that as well - many are mono send/mono+stereo return, and most of the other ones have Mono/L jacks. It's more stuff, though.
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Jun 17, 2016 03:08
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MockingQuantum posted:I'm looking for some advice on my setup. Currently I'm almost entirely ITB, with a handful of synths, both with and without keys. I'm trying to find a more straightforward and fun (if that's the right word-- I think I just mean quick & intuitive) way to mess around with my hardware stuff. I've got Ableton Live w/Push 2 and Reaper, which I use for work, but for my own music writing and loving about I'm curious if there's a better way of controlling my hardware than what I've got. Here's what I have: MPC (and a small USB mixer) imo. 1000 or 2500 with JJOS will let you do exactly as much as you want out of the box (you'll need CV converters but MB is a start). 500 and 2000 are also options. OT will get you there too but it's weird. It's a very cool box but some of the limitations are hair tearing versus the freedom you have with a DAW.
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Jun 28, 2016 02:40
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64bit_Dophins posted:Yeah might as well. I was also looking at the S950 but it costs about the same as the S5000 for some reason. 950s are where the lo-fi-ness of converters become desirable again (and lots of nostalgia for the 950s and 1000s with people making early 90s revival rave stuff).
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Jun 29, 2016 20:13
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sliderule posted:I avoided ever GASing over vintage samplers by picking up TAL Sampler. I keep meaning to check this out - I LOVE their Juno Chorus. 64bit_Dophins posted:https://www.youtube.com/watch?v=oBw6ELHkRTo Exactly what I had in mind haha - I'm seeing it with (chicago/deep) house peeps too.
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Jun 30, 2016 01:58
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Mr. Glass posted:speaking of samplers, i impulse-bought an MPC1000 the other night. there seems to be a lot of information online of varying levels of quality -- anyone have any essential tutorials recommendations or general tips? JJOS is the go-to homebrew OS for it. Its straight forward and easy to learn, but its also stupid powerful. I've mostly posted about the 2500 version here but they're essentially the same. The manual is not the best... but every time I re-read it I learn something new and useful, even just a shortcut. http://www7a.biglobe.ne.jp/~mpc1000/ The MPC community is kinda cargo-culty but there is good info out there, though parsing from the bullshit takes some time.
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Jun 30, 2016 17:17
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Mr. Glass posted:what's with all the different versions A MIRACLE posted:If you have a 1000 get os2xl ^^^ 2XL and 3 are still updated. 3 is looking interesting but I'm still on the 2XL equivalent. There's a chart that goes through the differences as well but they aren't going to matter to you at this point. I don't know anyone who uses the free one beyond as an installation step.
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Jul 1, 2016 00:30
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I just inserted a compressor (DBX 160 X ) into the out of a patch bay with a TRS insert cable by accident... and it "worked'... sort of. I got some interesting distortion (my goal) and I could change the character by moving the output gain. It was cleanest and most compressed at unity, with more making it (predictably) louder and less adding some interesting distortion at the tail while keeping the levels the same. Anyone know what I did? I didn't think it was possible to use patch bays like that.
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Jul 3, 2016 03:23
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I just recorded an ambient/drone thing with an MS-20 mini: https://technoliches.bandcamp.com/track/divine-by-gazing-into-crystals I was going to post earlier to ask but I figured I should try it myself first: What do you all do to compose things without using a timeline sequencer? I learned on DAWs and moved to an MPC (which is patterns but it's basically limitless so I just figured out how to visualize a timeline that way), and I've never been able to click with something that doesn't let me lay out x tracks for y time - I slave drum machines to the timeline etc and control everything from there cause it just feels natural. But like I have no idea what I'd do with an 808 that wouldn't let me choose patterns with MIDI. It's limiting! How do I start thinking in terms of patterns and loops? What throws me is transitions - I have a hard time writing loops where I can fade/mute in fills and my stuff ends up sounding very static when I do try.
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Jul 13, 2016 07:10
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| # ¿ May 10, 2024 11:47 |
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Thanks for the reply Mr. Sharps! Your videos were part of what got me thinking about switching things up. Reading your workflow I realized I've very caught up on 1 pattern slot = x amount of time in the song - which gives me a lot to work on.
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Jul 15, 2016 02:36
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