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by default the only computer that has one disk has all nukable content and while it would not really be nice to put everything back nothing would be lost because everything i make gets put somewhere else i guess what i’m saying is that c:\ should be treated as a drive you can jettison at any moment and not lose irreplaceable work also let kontakt use streaming from ssd, it’s usually fast enough
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# ¿ Mar 26, 2023 09:57 |
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Penisface posted:i wonder what setup hans zimmer uses for the sound he was one of the first to have a massive server rack with a whole bunch of computers, each running a gigasampler instance. this probably didn't change, except for the fact that if you're hz you can just sample your own orchestra instead of buying kontakt w/ spitfire like a pleb before that, composers would buy a stack of 32 e-mu ultras or so, maxed out on ram and hdd, and load those up with one instrument at a time
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counterpoint: colin benders https://www.youtube.com/watch?v=A4hUrCPqD7s&t=2536s (it takes 42 minutes and some for the music to start)
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Jonny 290 posted:And they were so heavily poo poo on by electronic music people. "They don't accurately capture the nuance of the actual TB-303!" grognards still exist but fortunately they're dying out by the day, though some folks have gotten charmed by the whole "dawless" thing as if there wasn't a default way to make music before vsts
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Kernel Sanders posted:Eurorack is basically functional programming for sound modular synths are analog computers but pure functional implies no sideeffects and given that you are wiring up a giant breadboard i have my doubts
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Penisface posted:this discussion has made me think about taking a look at those nord stage things which all the cool pros use to do stuff, so it's a good assumption that it feels and sounds close enough to the real thing roland fp30x or fp60x, just get the good 3-pedal box, the smaller ones will skitter all over the floor. if you mostly care about piano then that will be good enough, nords are for when you also give a poo poo about rhodes and tonewheels and both of those are passable on the fp series
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Penisface posted:i have a roland a33 now. i do care about rhodes and all the other retro wurlies and organs, but that part is mostly covered by my roland xv5080 rack box. quote:i figured that if i ever update, it will be to a doepfer top of the line keybed, so i keep the touchy feely part separate from the sound generation https://www.kawai-global.com/product/vpc1/ doepfer gets the keys from fatar, their main selling point is compact size
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Woolwich Bagnet posted:i am insane and love spending money so i have one of these https://www.kawai-global.com/product/ca79/ quote:idk why anyone would get something like an upright piano when they make such good digital grands these days. unless you get an una corda or one of those weird innovated pianos
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echinopsis posted:midi ain’t too complicated is it? i still don’t understand sysex but neither does anyone at ableton or bitwig apparently dave smith is kind enough to put references in the back of the manual but how the hell am i supposed to read them or even send messages like that, c’mon or should i fire up borland c 4.5 for dos and bitbash stuff across some serial port i’d really appreciate an eli5 for this
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learning every scale in every key allows you to modulate more adventurously absolutely worth it imo
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echinopsis posted:yeah just went and had a look at other keyboards and realised 25 key is too small and then in that size I think this second hand one is good value https://www.sweetwater.com/store/detail/MPK249--akai-professional-mpk249-keyboard-controller Controllers tend to depreciate fairly quickly (even though they're hella important in the studio) or are those AUD instead of USD They improved the pads and you get CV/gate out for your robot farts, too
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Pollyanna posted:> 200 euro 🙀 200 is pretty acceptable for a high quality plugin diva, serum, etc all hover around that amount
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Jonny 290 posted:for sure. ive been mixing tracks for about 25 years now. it's a good way to learn how to match keys and vibes and learn the art of the push pull etc. of course other software has a flexible grid, or tempo cue points that don’t actually hog your actual cue points buttons, and all of it sucks in its own way but i like traktor, i really do. Jonny 290 posted:its the hardware really. free mix software exists but you gotta get knobs. s2 haver here as well, it’s compact and nice. i have a nanokontrol as extra so i have faders for the effects and buttons that i can assign to switch stuff off and on. remapping it is not as easy as it could be but very worthwhile. i never use rev/flux mode so i have those mapped to master tempo up down (and it sets the clock to master too). cue button of a deck switches the master tempo back to deck. add to prep list and increase browser size do semitone up down because i prep and program all my stuff in advance with comments and poo poo, like “hpf 6 verbkill 8”. first 4 cue points are for first half of the song, last four are for second half, so often it’s the same per track which is nice. the loop size knobs are for per track fine tempo adjustments while the pitch faders range at -12/+12%. Jonny 290 posted:for about 25 years now i have been into Computer Music, and it has this baked-in unsolvable flaw, which is that you need a few CPU cycles to make the sound and wiggle the waveform. this goes for any digital method of synthesis btw, i think a d-50 had like 10ms of latency. for analog devices you can have this as well since the keyboard and knobs are scanned and if that is done by a 1 mhz z80 and lovely firmware (jx10) there is always a delay and in several cases, stepping
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Pollyanna posted:it’s not immediately clear to me how djing helps, though if i understand correctly it has to do with the larger scale arrangement and sectioning of tracks. i.e., when and how long to wait before playing patterns and melodies you’ve written up, what patterns to play and when, and when to turn them off. djing is also about reading the room and knowing when to back off a bit and when to continue. powerblock mixing keeps the energy level (exhaustingly) high but can be pretty cool at times. https://www.youtube.com/watch?v=Dt6xxMjbMg0 lots of dance music is about energy level which is an abstract combo of volumes, frequency range and impulses. a snare roll doing a crescendo is a simple example of that. djing teaches that this must be used effectively - people dancing must be able to anticipate it but not able to fully predict it. so, likewise, your song can use these tropes in a similar way. you basically program your own neural net on lots of similar but not identical training data so you get a feel for where it should fit in your own track.
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makin’ music thread: loving looove to talk about makin’ music way more than actually making it
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Pollyanna posted:I am larrrrrrrrninnnnn in that sense building a set is sort of like trying to solve a puzzle, so if your track is mixable, it’s fine. think of it like wood joinery; if you can connect two tracks with a half lap joint it’s better than a basic butt joint (just gis for pics) some tracks work better than others when mixed together, and one of the coolest things is having a lot of overlap that sounds good so then it’s almost a mashup. “extended” mixes of tracks often do feature those extra measures so you can do exactly that. anyway first get the structure right. analyze existing tracks. use a spreadsheet - rows are tracks, columns are measures. start with the kick drum and color in when you hear it like it was grid paper. repeat for every instrument in the track. the end result looks v much like what you see in a daw. Pollyanna posted:man don’t put me on blast like this…… i am by far the most guilty of this
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Achmed Jones posted:i don't see a benefit to transcribing into a spreadsheet over a daw, am i missing something? daw is easier and you do stuff with the result daws work as well but spreadsheets are dumber technology and won’t tempt you into immediately trying to make it into a track. analysis and arrangement can thus be kept separate. i am a big believer in not trying to do half a dozen things at once because at its core, making music is making decisions, and you already get lots of those at the same time also originally it wasn’t even spreadsheets, it was graph paper but i’m ![]()
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oh yeah this is probably pretty useful: https://www.youtube.com/watch?v=cqJKzJPKoZE
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Ruffian Price posted:if you buy tracks from beatport they already have key metadata for dj software, actual key too, not some dumbass proprietary symbol 4lokos basilisk posted:so i assume the software automagically scans your tracks and converts-maps the key from a regular c/d/e/f... scale to this weird A/B 1-12.. which now makes sense because there are 12 semitones in an octave and i guess the A and B are meant to signify major/minor camelot wheel is the circle of fifths with the relative major/minors for people who consider music theory to be 1) difficult and academic, 2) crippling for their creativity or 3) the equivalent of broccoli because what the gently caress do you need it for just take two records that sound gud in that sense it absolutely achieves its target and it’s p easy to read when you get the hang of it, and it’s not really proprietary, just completely useless in other scenarios than for that particular setup kind of like guitar tabs are to synth nerds anything that teaches people theory is good stuff, the worst prison is the one where you don’t even know the walls exist in the first place Laserjet 4P fucked around with this message at 21:08 on Jun 21, 2022 |
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akadajet posted:downloaded abelton lite and nothing made any sense to me so I’m watching some videos about it arrangement view is the traditional approach, session view works best when you want to improvise because everything is a loop live makes poo poo a whole less complicated than cubase or fl in my experience
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4lokos basilisk posted:edit: until that fucker hainbach finds out, buys all the available stock, makes a video of it on youtube and then MYSTERIOUSLY the prices go up any synth youtuber was just a johnny-come-lately compared to jexus or synthmania driving prices up up up alex ball or espen kraft are just as guilty btw if not more wrt gear i feel like the dog that caught the car and now doesn’t know what to do with it. i have or had all of the stuff i ever wanted except for a jupiter 8 i guess also having at least one really nice thing is good. 20 volcas don’t make a polybrute Laserjet 4P fucked around with this message at 23:01 on Jun 22, 2022 |
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It was revealed to me in a dream that I should make a 4 track EP called “Amen’s Warehouse” Also the Lyn Collins “Think” break is a good second to the Amen
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echinopsis posted:to me house and techno are similar enough in effect then i can only conclude that you've listened to superficial variants of both it doesn't mean they can't blend or borrow elements from another but a good thing to keep in mind is that both were formed by where they originated - techno being machine music from the motor city, house from being the warehouse where disco got stripped down to its essentials it's both four to the floor but really different obligatory opinionated reference genres are meaningless but getting down to the individual song (or even section level) of things is just so tedious. if you don't have a linnaeus, you'll have to invent one.
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Pollyanna for all that is good watch this and do not skip Dude has more Now imagine doing all of this on a sampler with 2 megs of RAM or so Laserjet 4P fucked around with this message at 17:20 on Jul 21, 2022 |
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synthesizers synthesizers synthesizers https://www.youtube.com/watch?v=3o_lxYImI7Y dude is living the dream but i’d get hella overwhelmed
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killhamster posted:oh this was far less difficult than i for some reason believed put all your 2006 newgrounds flash animation skillz into tweening sines and saws except vital vital has modifiers and makes things more complex 4lokos basilisk posted:yeah you need a full 123989tb nas to just fit the tiniest violin in that orchestra https://audiomodeling.com/strings/solo-strings/swam-violin/ it’s always a trade-off between storage and computation
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Pollyanna posted:I’m curious, what kinda vsts and hardware would I need to make this, minus the vocals not hearing anything that’s not samples of orchestral stuff, but i’ll relisten on better speakers soon. either way sample based orchestral stuff is honestly done best by software because it requires a fuckton of storage cheapest hardware option is a jv1010 with orchestral expansion but that’s 1994 tech and 8 mb of samples or so
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killhamster posted:have this too, never really explored it vital and surge are both free and open source and kick the utter snot out of 9 out of 10 stock daw plugins and several paid ones as well. the difference is mostly in professional preset designers for the payware who do genre-specific stuff that can be sold. i can't recommend them enough
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killhamster posted:also i am 100% serious i would make cybergrunge but atm i do not have an electric guitar you don't need it, you just need electric guitar samples https://www.youtube.com/watch?v=ABfabTO5Ivc
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nudgenudgetilt posted:maybe this is too far off topic, but can anyone recommend a good usb-c dac? dacs are not necessarily audio interfaces but audio interfaces happen to have dacs in general you want a dac when you want perfect playback of existing material https://www.rme-audio.de/adi-2-dac.html rme is not cheap but they support their products for decades gearspace audiophile discussions about converter quality - great, but the tiny details and differences are irrelevant compared to the stability and driver support and by the time someone starts yapping about how the soundstage is more three-dimensional while living in a concrete hovel and being over 40 i tune out because they're full of poo poo and lost all of their +15k hearing anyway e: it's not usb c but audio does not need that kind of speed, i'm running 56 i/o on usb 2. there is however something to say for not burdening stebe's aluminum slab with more dongles Laserjet 4P fucked around with this message at 20:29 on Sep 22, 2022 |
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tone is in the fingers and groove is in the heart sing it, baby
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you can solve a lot of the pain with an envelope that has a hold stage and ideally adjustable curves, unless you want to synthesize acoustic snare drums, in which case lol good luck
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then you realize you can't run any current-day plugins and it's gonna suck because the last tdm and rtas stuff by now is 20 years old and whatever dongle you had can't call home anymore to check if the license is legit so congrats on a big harddisk recorder i guess but yeah in a "let's see if i can get this pdp-11 working" that'd be interesting to document
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# ¿ Mar 26, 2023 09:57 |
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https://google-research.github.io/seanet/musiclm/examples/ yeah
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