Amygdala

Been there... All the time I try to do stuff out of the ordinary, when the inspiration doesn't come. For instance, I was in a bad mood the other night, when some boat was delayed, and my trip got extended two hours. I went out to the rear of the boat (it's one of those catamaran style shit-fast boats), smoked a cigarette, and just looked at the 30 feet high jets of water coming out beneath the boat - and listened to the engines... I stood there for about half an hour freezing my ass off, but I got some pretty good ideas Another "trick" is to work on some music in a completely different style. Make silly music that could fit in some arcade-game from the late 80's. Chances are, you will stumble across some sound, that can be the base of the kind of music you usually write. -A

Yup, it all comes down to the timestretch algorithm... Mathematical/theoretically, it should be possible to stretch 10-15 % without any audible sound quality-loss. I don't know any particular programs, but try to find a stretcher that uses the phase-vocoding principle. -A

Thanks guys... That's nice to hear I can't take credit for the intro though... That's from Mahler's fifth symphony, so I'll either have to re-write it myself, or accept that the track will never go anywhere in the real world - Okay Stalker, I'll compress the "ass" out of the bass then -A

Chop up is to isolate all the drumhits - so you have a single snare, hihat and such in it's own file. Instead of a loop you have a building set for a loop Any EQ can do the (inverse)V-shape... You just have to cut the lowest and the highest frequencies - so that the drums will sound like they come from a real cheap speaker. It's called "V-shape" because the way the spectrum will look afterwards (when done inversely, an upside down V): ___/ \____ low -m- high If you're tricksy, add a sloooowly changing flanger -A

Aaah, allright - yes, I know - I always wait to compress and master untill I'm completely done. Thanks for the reminder though! Hehee, then it's working, eh? A picture just like that one was just published in the university magazine from some party. Noone will take me seriously anymore - just the way I like it -A

Thanks - the tune too quiet... Which one would that be - overall, or just in the last part? Should I maybe boost all the midrange? BTW, like your avatar. Red Dwarf is a really funny show - thanks for feedback! -A

For the sake of keeping this thread alive: Lot's of producers talk about tuning the pitch of the bass to the kick. I'm getting convinced that this is a good idea Here's an easy way to do it, that doesn't involve spectrum analysis or cryptic math: When you have a kick you like, and want to know what pitch it is, simply route it through the most standard distortion you can find. Distort it beyond recognition, until it's just a pure tone (turn it down first!). This tone is the pitch of the kick, and if you tune your bass to this (and the other instruments too), then it will probably sit well in the mix - when the bass is tuned, remove the distortion from the kick, and presto... I did this in this track, and the bottom-end is (if I say so myself) impressive - at least in my own speakers: LINK Merry christmas! -A

Hello all Here's an almost done version of the techy thing I tried to push earlier... It's not so techy anymore, but... it's there. Feel free to comment on anything besides "compress bass more" - thanks, and enjoy your christmas. the Oxylerator pt. II -A

25, but who's counting? Anywho, the whole principle of subtractive synthesis that all major synths build on is as old as the first sunrise. In fact - no new major synthesis methods have been developed the last 30 years or so...? If we don't count that Neuron thingy at least... My point is - old dogs can still do nifty tricks - it's not the gear, it's the idea. The TB-303 has changed music for a good reason - it's a damn fine machine, so use and abuse it well! -A

Another good trick is to find some dirty ol' hephop beat, chop it up, and use the sounds (especially the snares and hats). Puting the hits together the way you want them, and put it all through a inverted V-shape EQ - cut low and high frequencies to get that "old-dirty-radio" effect -A

A de-esser is a thingy that removes essing... If you have a signal with some electronic noise that goes "shhshsshshsh" (or "ess"), then this noise can be removed with a de-esser. There are several ways of doing this. The easiest, is to analyze the sound for constant frequency content, and remove this by some sort of EQing. If the noise is constant, then this is fine, but you can accidently remove some of the actual signal too. Therefore, with some other techniques, you can input a sample of the noise you want removed, and then have the de-esser subtract or EQ this from the signal. As with everything else, it comes down to your ears -A

Oh, of course not - I just can't believe someone actually got an idea this incredibly weird. And to actually do it. Homo Sapiens are nuts - but in a funny way -A

I think it has to be the real micrsoft windows office. It doesn't work on mac either -A

I think it's only standalone actually. It's possible to send MIDI to it, but it requires some tricks... The easiest is probably to create the tune you want in it, export as audio, and import it to wherever you want it... Sadly. -A

Never mind

For me it's definetly Rebirth... And it's free now -A

Anytime

Preferences won't help you... In the environment-window, there should be a pulldown-menu, in which one of the last items is "create new object", or "new audio object" or something similar - but only if the environmentwindow displays audio-objects. When you create a new audio object, it should be rather obvious how to turn it into an audio instrument... Hopefully -A

Do you have the autoload from before you re-installed? That would be the easiest sollution. Else, you have to add audio-instruments in the environment. In some menu, you should make the environment-window display the audio objects. Then, create a new object from the rightmost menu (I use mac, where the menu is in the window - yours may be in the top of the screen...?) - when this is done properly, you can create a track in the arrange-window make it your new audio-instrument. It should now appear in the mixer. Hope this helps -A

A friend sent me THIS link. I haven't seen anything so completely utter nerdish, and I doubt I ever will. -A

I'm oldschool all the way. My biggest "musical disapointment" was the end of Transwave, and my biggest regret that I haven't heard them live. -A

Maybe not so relevant, but I use logic on mac, and it's great. It's not completely off-topic, since I use version 4.7. When I switched to logic I was a big mess, and thought about giving up plenty of times. But once I got used to it, it was (and is!) heaven. Luckily I don't have to leave logic soon, but even if I used PC, I probably wouldn't, since I'm overly content with version 4.7 -A

I like pictures too. Especially the ones where people look goofy or completely stupified. Actually, I enjoy looking as stupid as possible myself. I think my avatar is a pretty good example. I don't mind people taking pictures of me in weird situations. There are quite a few of those in the campus magazine, that depicts me as a great target for the psychologists who will eventually graduate here About artist's reputation and career and such - as an "artist" myself (not very accomplished, but time will tell), I couldn't care less. An exclusive select few can make a living by performing in this scene anyway, so I don't really think there's anything to ruin. To me, this scene (the music, the parties, the people...) is about anything but stuck-up image-control anyway, so if I look stupid, and entertain people in the process - great But then again, some people might think otherwise, and people with cameras should respect that. I don't have a camera (but I still respect people's vanity ) -A

I love bandpass filters... Here's another one, good for drones and pads: You need a synthesizer with two oscilators, and a seperate filter for each of'em. The filters should be bandpass. The one have initial cutoff at a little less than 1/3, and the other at a little more than 2/3's. Now hook them both up to the same controller - the brightest should decrease in cutoff, as the lowest INcrease. They should not change at exactly the same rate - only just En-joyoyoyoyoyoy (that's the sound you will hear when modulating )

Ooh... Uhm. So my soundcard is actually a MIDI-interface too...? I guess that would make sense... After all, when it's connected by firewire, why would I want to send data to it by MIDI. Sometimes, I'm just not that clever -A