OfficeSteppers '13 (aka the offtopic but still prod. thread)

[wub]

Depends...sounds like it could be a security feature put in place to prevent other devices on the same network from accessing her system.

[fragments]

Depends...sounds like it could be a security feature put in place to prevent other devices on the same network from accessing her system.

I think that's what it is. Weird thing is if I don't turn off my laptop or connect *before* she does, it's not an issue. I can even disconnect and reconnect as long as I connect before she does.

Weird...and annoying, lol.

Thanks wub.

[Artie_Fufkin]

going to spend the morning on this channel until Exchange serve comes back

the tape loops one was pretty cool.

Finally watched a beardyman show after hearing about him and forgetting to check him out before. I have got to try that kind of thing out sometime

[wub]

Beardyman is fucking ace, big fan of him and the stuff he does with Nathan Lee;

[hasezwei]

1|1.5|2|3|4|6|8|12|16|24|32|48|64|96|... thats what i made tonight. a spiral, and that turned into the same spiral yet again.
it sounds like rain in ancient japan.
its really hard for me to explain (mostly cause i'm really tired and i can't think english when i'm tired) but it's so incredibly easy. it's all within the numbers really.

i'd upload it to soundcloud but what i've rendered out is 30 minutes long, and it could potentially go on forever.

[wub]

Any chance of just a clip then?

[hasezwei]

Any chance of just a clip then?

Soundcloud

what i did was take the first sample i could find, a short clicky one, adjust it's length to 4 quarters, disabled 'keep pitch when changing playback rate' and then just pitched away.
i always transposed one octave, then in between added another track transposed halfway in between both files. ends up looking like a triplet rhythm. i ended up with about 50 tracks or so, filling up the whole frequency spectrum.
i then bounced that, layered that on top of each other again, pitched again and again et cetera.
added some reverb to make it a bit more listenable.


by itself it's really boring and doesn't even sound like music to be honest. but what i find interesting is how you can always predict what's gonna happen next even when you've never heard it before because the underlying maths are so simple.

edit: the waveform display kinda ruins it

[Electric_Head]

Where's the drop m8.

Interesting stuff hasezwei.

[antipode]

Any chance of just a clip then?

Soundcloud

what i did was take the first sample i could find, a short clicky one, adjust it's length to 4 quarters, disabled 'keep pitch when changing playback rate' and then just pitched away.
i always transposed one octave, then in between added another track transposed halfway in between both files. ends up looking like a triplet rhythm. i ended up with about 50 tracks or so, filling up the whole frequency spectrum.
i then bounced that, layered that on top of each other again, pitched again and again et cetera.
added some reverb to make it a bit more listenable.


by itself it's really boring and doesn't even sound like music to be honest. but what i find interesting is how you can always predict what's gonna happen next even when you've never heard it before because the underlying maths are so simple.

edit: the waveform display kinda ruins it

i fucking love this shit man

approaching music as a pattern, or mathmatically. its like fractals.

i love pissing around with arps doing stuff similar to this.

thanks for sharing i really like it

[fragments]

@hasezwei: I found this quite a nice listen on this dreary, late morning before heading to work : )

[hasezwei]

thanks dudes, glad you appreciate it too!
epoch, i'll bounce out a some stuff and put it in a pack so y'all can play around with it. i've found some other chords/rhythmic ratios that can be turned into interesting patterns.
a perfect third somehow resulted in a proper fractal, though i was in quite a rush trying to do too much at once (weed-induced feeling of epiphany ) so i'm not sure if there's been some distortions in my math

sadly after googling for more info on the relation between rhythms and chords i've found an article explaining all the things i've discovered in the last 24 hours by painstaking mousework in reaper and hours of thinking, someone else found out first

dantepfer.com/blog/?p=277

anyway, as rhythm = pitch intervals = ratios... there should be something to find when going for the more complex stuff. also i'm gonna have to give the golden ratio a try though i fear it'll end up as a dissonant mess
bad thing is, none of this seems to offer a proper alternative to the 4/4 time signature, something i really hoped to find all the time thinking about this.

it might sound weird and i dont even know how to properly word it but somehow all rhythm is working with even numbers with the exception of three. but three isn't even that odd, you know. a third could just as well be four twelfths.

modern classical composers have been experimenting with free tonality/lack of harmony for almost a century now, i think it's time for modern electronic music composers to start seriously experimenting with rhythm. i mean more than just shuffle or syncopation, some real advanced shit. something that breaks the boundaries of quarter pulse rhythms but still remains logical enough that you can dance to it, that your brain can predict what's going to happen next based on the maths involved.



edit: what's so weird is... i've been skipping math classes since i was 11, i've always had really bad grades in music cause i wasn't there at all and i still can't read notes
but in the last months i've had so so many ideas regarding mathematics/logical systems and music, as well as programming (i've never programmed in my life) it's insane. every time i think something up and feel like i've just invented the wheel i look it up on the net and find out someone scientist already discovered it. so you feel like a genius somehow but at the same time you feel retarded for doing all that brainwork for something everyone else has already learned in school.

[fragments]

That's some deep thinking, man! I really like what you say about rhythm. I'm going to look into this stuff. So glad I have tomorrow off. Also, I love the PI film reference

[Hircine]

not that deep but I just finished chopping a reese riff after some really really really long processing chains and about 6 or 7 eqs in between notching specific frequencies out and it sounds amazing, I feel like I'm in NOISIA.

[fragments]

not that deep but I just finished chopping a reese riff after some really really really long processing chains and about 6 or 7 eqs in between notching specific frequencies out and it sounds amazing, I feel like I'm in NOISIA.

Any chance some of those Mopho saw waves made it into those bass riffs ;p

[Hircine]

not that deep but I just finished chopping a reese riff after some really really really long processing chains and about 6 or 7 eqs in between notching specific frequencies out and it sounds amazing, I feel like I'm in NOISIA.

Any chance some of those Mopho saw waves made it into those bass riffs ;p

Nope, but it gave me the idea of using feedback followed by distortion to thicken the low end. large ups

[fragments]

not that deep but I just finished chopping a reese riff after some really really really long processing chains and about 6 or 7 eqs in between notching specific frequencies out and it sounds amazing, I feel like I'm in NOISIA.

Any chance some of those Mopho saw waves made it into those bass riffs ;p

Nope, but it gave me the idea of using feedback followed by distortion to thicken the low end. large ups

Right on : ) That works pretty well IMO.

[Electric_Head]

not that deep but I just finished chopping a reese riff after some really really really long processing chains and about 6 or 7 eqs in between notching specific frequencies out and it sounds amazing, I feel like I'm in NOISIA.

Any chance some of those Mopho saw waves made it into those bass riffs ;p

Nope, but it gave me the idea of using feedback followed by distortion to thicken the low end. large ups

Yeh, I've been driving samples hard through camel phat and turning the compressor to full with the phat setting enabled.
Immediate hard clip distorted feedback.
Filter to suite after and it ends up in a lovely round, full bass sample.

[Artie_Fufkin]

Beardyman is fucking ace, big fan of him and the stuff he does with Nathan Lee

his rendition of reeses spot on. spot on.
sometimes I beatbox dnb beats at home. until my sister starts making fun of me.
I spent a bit too long playing around on his website http://www.beardyman.co.uk/

Interesting stuff, hasezwei. I've always been interested in symmetry like the whole tone scale and diminished patterns. I guess just because it's easier for me to play and remember on guitar lol.
My former guitar teacher thought it would be cool for drummers to play quintuplets(?) in beats. Five notes against a four feel, like some guitarists do when they're shredding. Chris Adler does it in a lamb of god song.

At 1:28, I think it sounds pretty neat. Is that kinda what you're talking about?


As for what I did today, well....I attempted to make massive sound organic

edit: checked out that link you posted and I've done that before by turning up the tempo and looping something in renoise. or you can do it with the retrigger effect from dblue glitch. Or like playing a saw really low to where you just hear rhythmic popping/clicking sounds. Try playing two or three of these low notes at the same time and you get these .....polyrhythms?

[wub]

Mentioned this in another thread, but watching Into The Lair #54 - Top 10 Mix Mistakes (Part 2) and from 3m52s is a section entitled "Used Effects For No Reason" which is really good in terms of thinking about my use of effects and whether I'm just doing them for the sake of doing them.

Makes me re-evaluate the idea I had on the Metro this morning about a shaker line with flange/filter/panning

Although now I'm thinking about the effects order and wondering whether flanger/filter/panning will produce differnt results to panning/flanger/filter. I'd already disregarded putting the filter ahead of the flanger as I wanted to filter the flange and not flange the filter.

[dougriley]

"Creating Contrast
Perspective is all about contrast, so while sounds can be pushed back by making them less bright and more reverberant, they must be balanced by brighter, drier sounds at the front of the mix. Don’t make the mistake of trying to make every single element sound pristine in its own right — or you’ll find the back of the soundstage is empty, and the front somewhat overcrowded." - http://www.soundonsound.com/sos/feb09/a ... pspace.htm

Found this bit to be quite interesting. Although somewhat obvious, def a mistake I tend to make all the time.