Veracohr

Can't wait to hear it! You know, "Into Deep" has been one of the most influential albums for me. A few weeks ago, I was reading some reviews of it on amazon.com, and a lot of them were in the vein of "Dude, I was totally expecting good ol' LSG trance and I get this crap! WTF?" It really disappointed me, because if you listen to it for what it is, it is an exceptional work of music. But people see the name, and expect it to be just like everything else from that name, and can't appreciate it.

I sympathize with your confusion. I have many times wished they would just print it on the label--I mean, they print the damned label anyway, why not just put the speed on there? But my final determination is that with many electronic types of music, the artist/label knows a vinyl pressing is going to end up in a DJ set since few people buy vinyl just for listening anymore, so they figure the intended song speed is irrelevant--it is dependant on the placing of the song in the set and the intentions of the DJ. Unlike the days of yore, when a song had a definite intended speed and woe to any who set it wrongly. Hmm...I should go listen to my Pink Floyd and Led Zeppelin records on 45...

I just found these guys: http://www.crunchpod.com/cat/ I'd describe them as...gothic dirty techno/hardcore

You pretty much have to rely on the type of music and your knowledge of average BPM for that style. I have a record that when I first put it on, it was set to 33, and sounded fine, but then I remembered it was supposed to be hard acid techno, and +/- 100 BPM was too slow. So I switched it to 45, and said "Oh yeah, that sounds more like it."

45 RPM allows for more accurate frequency response, especially in the low end. I believe that's it, it's been a while since I learned about it. The same concept applies for tape speed in tape decks--at 30ips, you can only get around 17 minutes on a standard reel of tape, but when money and tape stock wasn't a problem, that was the preferred speed. The analogy that was used when I learned was that of a painter with a bigger canvas--it's easier to paint detail on a bigger canvas. Bigger canvas=higher RPM/tape speed.

Oh, now see, that's absolutely the wrong way to go about using compression. First off, only use compression on tracks that need it. Second, never mix by numbers! Mix by sound! Which requires learning how to use a compressor, so you can achieve the sound you want. Never mix by numbers! (Or sight, for that matter)

I don't get it, reference to what?

Yeah, even the small version is something like $3000.

This is a really cool controller: http://www.hakenaudio.com/Continuum/html/overview/Intro.html Be sure to listen to the examples, especially the first one (it's a video taken at a Dream Theatre show), it gives a close-up look at what you can do with it, and the guy playing is pretty good with it.

^^ Read the first post. I've been using ReBirth, but can't anymore.

I think I read about that one, but it's only VST at the moment, no AU version.

I was talking with this guy at Banjo Center, and he was telling me about companies that make 303 clones. He couldn't remember any names as I was talking with him, but he said Roland licensed out the schematics for companies who want to make clones. Is there any truth to this?

Cool, thanks, I'll try the demo and see how it is.

There's got to be some pretty screwy coding going on in that site. I was searching for various releases, and started listening to samples from a "Best of" Transwave CD, and somehow the link for the sample of the first track got added to my Firefox bookmarks toolbar folder, so the link shoved itself up there in the row of bookmark links. I don' t know of any accidental keystrokes that can accomplish this, and I'm pretty sure I didn't hit any accidental keys anyway. I might be tempted to buy something from them but with such strangness going on, it makes me too nervous.

Anyone know any good 303 emulators for Mac? I'm finally able to move my DAW to OSX, but I don't want to leave ReBirth behind, having only recently included it. If I can't find another emulator, I'll have to get a cheap older Mac to run OS9 and ReBirth, and slave it to my sequencer. Luckily I have an extra audio interface I don't normally use, but I would have to get another MIDI interface for the sync clock, as well as figure out how to switch my computer monitor between two different computers.

Well that's more difficult. No one can tell you how to be groovy. Put just as much thought into the silences as the notes, and listen to lots of basslines to get ideas.

Well, apparently Discogs prevents deep linking of images. Filteria "Heliopolis" (listening now) Midijum Records "Vibration Four"

Is it the sound you're having difficulty with, or the notes? If the sound, I use and like this: Novation BassStation Rack

I don't know if they make them in that size connector, but you're probably looking at a patchbay for that. 1/4" are most common, TT are less common except in studios.

I just ordered Filteria "Heliopolis" and "Vibration Four" (Midijum compilation) the other day and I'm anxiously awaiting them! I don't get new music very often, so I get all excited when I do.

While I haven't used either, I have the uninformed opinion that Live is better, at least in the audio arena. So I guess it depends on what you want. FL Studio is designed to be a sequencer, Live is designed for audio, both live looping and recording/mixing.

Yeah, there's one sample that came with Reason that sounds just like a robot fart to me, so that's what I call the track when I use that sample.

My advice would be to not try to follow an outline. In fact, I beg you not to follow an outline. You'll just make songs that sound like everyone else's if you do. You have an intro, and a main part, but can't figure out how to put them together? Perhaps they shouldn't go together. An intro should relate to the song, that's why it's an 'introduction'. But if you really want to put them together, and they just don't seem to play nicely with each other, try putting something random and sort of unrelated to either between the two parts as a bridge. Or perhaps you can just leave out the intro? Not every song has to have an intro. When you're new at it, you're going to produce some crap to begin with. Hell, I've been doing it for 6 years now and I'm still making more crap than anything else. Just write a whole lot of songs, do it as much as you can, and you'll get to the point where you're making good music. Essentially, "practice makes perfect". It may not be as much of an answer as you're looking for, but that's just how it is. Making music is an art and a craft, not just a skill.

Wow, I do that kind of stuff manually. No wonder it takes me so long to write!