Veracohr

Actually, these are gay pictures: http://www.gaybeef.com/pages/anal_pictures.php That album cover is just dumb.

An ionizer will actually make things more dusty. The point of an ionizer is to cause dust particles in the air to be attracted to surfaces. Good for breathing, not for clean surfaces. I'm not a particularly clean person. I have a cover for my keyboard because my cat walks on it all the time, and that's it. I asked my mom to sew me a cover for it once because I was going to be in town, and she ended up using the most horrid flourescent multi-colored fabric, like the stuff really ugly pants that were supposed to be "hip" were made of in the 80s. I'm not sure if she actually thought it was cool, or just thought "finally I can get rid of this crap fabric!" You can help but think "radical, dude!" when you see it.

What on earth does this mean?

Er...someone who wants a lead? No, the Orbit has a decent bandpass filter (2 or 4 pole), but no audio input. The PEK has an audio input, but no bandpass filter.

This question has always been done before, but everyone likes to answer it because then we can show off. My setup: Synths Dave Smith Instruments Poly Evolver Keyboard Emu Orbit V2 Novation BassStation Rack Propellerheads Reason 4 AudioRealism BassLine2 DAW MOTU Digital Performer 5 Universal Audio UAD-1 I/O Hardware M-Audio Delta 66 MOTU Ultralite MOTU Fastlane USB Monitoring Soundcraft Compact 4 Samson Servo 260 Alesis Monitor One MkII

Oh, I'm all over that. I'm a Jedi master at synth programming. In all humbleness. Really, though, I don't touch presets unless I'm really hard up for a sound. No, I really meant to ask what synths these great sounds come from, not so much how to make them. Some of the bandpass lead sounds I hear have such a great crisp, clean, crystalline quality to them that my own choices for bandpass sounds can't reach. It's a combination of great oscillators and great filter, and I've got one or the other, but not both in one synth.

Done. 1. 1. Laura B - Lovebleeps 125 votes (49.8%) 2. 2. Hol Baumann - Radio Bombay 10 votes (4%) 3. 3. Solar Fields - Confusion Illusion Remix 116 votes (46.2%) Total votes: 251

While I would like to have Absynth, I really don't see it as a lead synth. It's kind of designed for pads and weirdness, no? Not that it can't do other sounds, but I want it for weirdness, not leads. Wouldn't be feasible with hardware synths, at least not in the way I write.

Wow. Of all the reasons to be interested in a song. Gunshots and car engines. :wank:

There's one particular type of sound I hear in goa that my own gear seems to be deficient in creating. Some songs have such amazing sounding leads with bandpass filters, and I want to know where they get these sounds. Astral Projection has some good ones -- right now I'm listening to "Soundform", and I just heard one, and I know the original "Mahadeva" has at least one amazing sounding bandpass sound. And earlier today I was listening to Asia 2001, and heard some great ones there too. Where do they get these great sounds? I don't have much to choose from for bandpass filters -- the Emu Orbit V2 has a pretty good sounding bandpass filter, but the waveform samples aren't the greatest, and the bandpass filter cutoff doesn't go up as high as I would like (ie. above audible range). My only other choice for bandpass filters is Reason's synths, but they leave something to be desired. I can approximate one with my PEK, but it's really faking it with a resonant low pass filter combined with a non-resonant high pass filter, and just doesn't have the same sound. I look at vintagesynth.com a lot, and I see Astral Projection's name on about half the synths there, but not a whole lot of other goa artists. The thing is, not a lot of synths have bandpass filters. At least, not classic synths. Do most people get these great bandpass sounds from VAs from Clavia, Waldorf and Access? Those seem to be pretty popular, and have bandpass filters, but I've never used any of them.

It's okay to listen to music that much, but try to throw some other genres in the mix, or you're just going to eventually get sick of psy.

Dear Bob, I never expected to hear the name Benchmark around here! :clapping:

What exactly do you need from an interface? You might check out the Apogee Duet. Only 2 channels, but Apogee makes great products. It's about $500 US.

Not so much. I haven't tried any others at the same price, but I was unhappy with it, and upgraded to a MOTU. Depends on what you need out of it.

I've never had trigger pads, and never felt the loss. More keys is better, in my opinion. In fact, my suggestion would be to get a better controller, say a typical 5 octaves, if it's to be your main controller. Something with better build quality and action than those two. More keys and control are essential for quality performance-based tracks. It doesn't matter if you're not going to play live, if you have the opportunity to go all out just jamming on a sound, your music will benefit as your experience playing builds up. You can't really do that with a two-octave keyboard. If you can afford it, get a quality controller, or some kind of synth.

The cure for piracy lies in changing the way people think - somehow finding a way to eliminate the attitude of trying to get as much as you can for as little as possible. If the majority of people had the attitude that something worth having is something worth supporting, it would help a lot of problems, not just music piracy. But since the majority of people are soulless, narcissistic hell-beasts, my vision has little chance of becoming reality. Oh, did I say that out loud?

Oh man, one of the songs on the album I'm working on now got corrupted. The application quits when I try to open it. Luckily a backup copy of it is okay. There's no way I could have recreated that song from memory, and it would have totally thrown off the whole project to write a new, different song.

You're not the only one. I just don't feel the need to explain what I'm listening to.

I try not to do that. When I'm on the computer while drinking, I tend to make a fool out of myself online.

Turn off the computer and start drinking.

Good stuff!

125-135, at least for goa/psy I like stuff that's faster than that, but I can listen to the lower BPMs for longer periods.

This one's pretty weird, though I haven't had much time to use it yet. http://www.greenoak.com/crystal/

The Electribe may be useful for you, I really don't know, having never used one. But if you find entering drum notes via mouse tedious and unproductive, by all means find another way. Have you looked into a controller with drum trigger pads? Then you could tap out your patterns. I personally plunk them out on my keyboard the best I can, and use the mouse the rest of the way, then select a one- or two-measure pattern and repeat. But then again, I suck at drum beats. Like Otto said, you have to create the changes. You have to invent the changes. If you create something that's repetitive, you can't blame it on your production process. Remember, change is what makes music interesting - change in the notes, the patterns, the sounds, all of it. Even in an inherently repetitive genre like trance. Listen to your favorite songs and listen for the little changes that keep a repetitive pattern from getting boring. There's always little changes in drums, random little asynchronus sounds, filter sweeps, etc.

What is it about your current process that you find awkward and cheesy? Can you post some samples? I'm not familiar with either the Korg TR or Logic's synths. Lots of people use Logic for sequencing, so you should probably be good there unless you don't like it for some reason (I didn't). Really, practice will have the biggest effect on your music. How good are you with synth programming? That can have a big effect on your sound--tailoring your own sounds rather than using presets or modified presets. I took a brief glance at the specs for the Korg TR, and as far as I can tell it looks like a typical ROMpler. Right? I suggest searching for some free softsynths, finding some simple subractive syths, and fuck around with them until you know what's going on with them. Then try out some more complicated synths with more capabilities. You can get a wide range of sounds out of, for example, a simple 2-oscillator subtractive synth with FM and an LFO. My advice is to not spend the money for a hardware synth (or an expensive software one) until you know synthesis pretty well, know what kind of sounds you want to create and how to create them. Then you will know what to buy, and won't waste money on something that doesn't allow you to accomplish what you want.