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thanks for the perspective

yeah was my idea too but i am afraid i wanna go back into the synth and i cant anymore at this point
but yeah overall i def agree less use of ram, easier to move sounds around

but than again dry sounds or the wet sounds

nice tunes guys will have a deeper listen tmrw but i like what i hear

fragments you got some for the 14?

BudSpencertron wrote:thanks for the perspective

yeah was my idea too but i am afraid i wanna go back into the synth and i cant anymore at this point
but yeah overall i def agree less use of ram, easier to move sounds around

but than again dry sounds or the wet sounds

nice tunes guys will have a deeper listen tmrw but i like what i hear

fragments you got some for the 14?

Just save your patch as a preset file from the synth, or save as project file name V2. You can go back then : ) With all the undo power and ability to save patches and projects there should be no fear of working with audio.

I have quite a bit done, yes. I will be uploading a FAWM/TUNA track when I get home. Ive been working on some remixes so skipped TUNA there...

all in good time noways, my music will be heard once the Gods of San Jose let it through customs

Gave a listen on the lappy, sounded really good. But you know that you're only hearing half of it on the laptop!

Gonna listen in the car right now.

Very chill tune jizzer. Maybe break the bass around 3:20? I always want to break things! Never mind me.

===============

Bud - if you're remixing your song, and you're in the song file with all the midi and automation, you're not remixing, your just working on the song still

The point of working in audio is that you don't have access to the synths anymore. This requires you to do things, things that you wouldn't ordinarily do. It requires work arounds. These types of work arounds, whatever they may be, often produce interesting results. Like you get to places you wouldn't otherwise get to if you were still in midi/automation land. Maybe you have to recreate the synth from scratch. And maybe you get close but not all the way there. All of a sudden you have a variation to the synth sound. Maybe a note doesn't sustain long enough, so you chop it and put it into a sampler, and find a loop in the tail to sustain on. Or maybe you want a note that doesn't exist, so you pitch an existing note, the pitch shifting algo produces weird artifacts - I know you're into that one

It is harder, and more work, working in audio (especially in live ) but it forces you to do things that you wouldn't otherwise do. And that is good in my book.

And plus the micro edits

cheers noways, yeh i might break up the bass a bit. im just so happy with that original funkiness i managed to bring in that i do not wanna edit it at all

atmosphere needs to be fixed up a bit too

I know the syndrome dude. I've got some very specific places and notes you could cut to keep that funk, but break it a bit and let parts of the phrase breath. Just for some small variation. Lemme listen on my proper system. Which is probably pretty late tonight. I've got to mix my TUNA! song tonight, but this day is a mess.

But yeah, there is a real groove in that bass.

coolcool bro, i'll wait

I'm not ego tripping man, just a little suggestion on a part of that bassline that could occasionally step back, create a break, build a little pull anticipation, right back into the phrase.

For really like grooved up music, seems like you've got to be spiraling down and up at the same time. That dynamic tension, or opposition is fucking golden. Always getting more specific, more static vs always changing, always moving. Golden.

BudSpencertron wrote:but than again dry sounds or the wet sounds

Forgot to mention - WET of course.

Again this makes things harder. Maybe you'll cut sounds closer to their body, to remove fx tails. That will produce a kind of sound... a garage sound! or whatever.

For that dsf #42 sample pack I included a lot of wet sounds. It makes them harder to work with, but again, in confronting that challenge strange things can happen. And that is good, again, in my big book of goodness.

:3 my next one tuna will be the remix but yeah i do understand what you mean it would distance me of my original workflow and ideas as if i would become a stranger to my own work

nowaysj wrote:I'm not ego tripping man, just a little suggestion on a part of that bassline that could occasionally step back, create a break, build a little pull anticipation, right back into the phrase.

For really like grooved up music, seems like you've got to be spiraling down and up at the same time. That dynamic tension, or opposition is fucking golden. Always getting more specific, more static vs always changing, always moving. Golden.

ofcourse dude i know its all genuine here in this fish market

yeaa i know what you mean, you gotta get rhtyhms going sorta polar either way. just been jammin to a Lot of Dilla basslines over the past couple years and its only now that im finally starting to get a leetle bit of groove myself hahah. slowly but surely...

Very nice, mate. Feeling that swing.

Soundcloud

This is my first FAWM. Trying to focus on arrangement and song writing. I know I don't have skills : (

A guest appearance this week by a dude called Lerabot. I love this guy's tunes. Fucking never makes beats.

Soundcloud

I'm out this week again, big shocker I know. I did start a new project yesterday, might develop it this week.

Did just get this compressor plugin working though, shit's dope. Gotta polish it up over the next little while and start developing a nice GUI.
All the beats heads will dig it, I'm sure. Great at squishing drum tails upwards. Gonna add in a below threshold ratio, sidechain filter, and hopefully a "tails only" mode that compresses upwards only when the VCA is decreasing, leaving the transients untouched. Oh and a wet/dry knob heh. Basically once I'm done, it's gonna be a badman vibe box you can stick on a drum buss and tweak until it slaps you in the face.

Dude, that is sounding incredibly nice, incredibly what I want, and incredibly what no other dev is doing. I very eagerly look forward to trying it out. If you'd like to talk to someone about the gui, I would be very happy to get very specific.

There is soooo much room for devs out there. I think people perceive the market to be flooded, and it is, with all the same shit, vst's modeled after devices designed to process recorded rock instruments. Super face palm. Few devs are making products that just do what I want, I have to abuse their products, and bend their uses to my tastes. I think there is sooo much room.

My thoughts exactly. Not feeling making yet another compressor clone. All about doing shit in unconventional ways. Modelling expensive analogue hardware is only used to justify price tags. "Oh compared to the hardware it's not that expensive at all" Fuck that, I'd rather make something that gets unique results and provides all the control you don't get in the 3 knob dealies that have better GUIs than backend code.

I'm trying to go at it through a functional perspective, how do I want to process this audio perceptually? Then find a way to make it happen on those terms instead of modelling the process of hardware circuits just because "that's how it's done" and expecting the user to conform to the controls.

That said, I'm designing a compressor with 2 ratios, 2 thresholds, 2 releases, and 3 envelope stages so I'm kind of talking out my ass on the whole 'conform the controls to the user instead of vice versa' thing.

It's all in the name of more precise control though, which ultimately will give the user a more direct handle onto the audio instead of trying to manipulate a small set of parameters into a sweet spot to get what they're after. If the underlying architecture is more flexible and suited to the kind of jobs you'd want to do, you don't need to abuse devices meant for other purposes, like you said.

It'll be a nice useability exercise to format the GUI in a non-confusing way after I settle on the final parameter set. Just the act of naming things will be hard. I've always kind of hated plugins that had super subjective parameter names that didn't tell you what they were actually doing underneath. But at the same time, if you're using a design the user isn't familiar with in the first place, you sort of have to label things on a subjective basis. 'VCA Transfer Curve Fulcrum Threshold' sounds a bit fucky and probably won't fit in the space above the knob. Going to try and have a strong visual component that makes things more intuitive. Knobs or LEDs that light up during attack/release stages for instance. Gonna have a nice transfer graph and a functional layout too so the parameters don't seem so cryptic. I know that goes against the adage of using your ears instead of your eyes, but I'm going to still keep things aesthetic instead of technical. No millisecond values to zero in on, just a nice GUI that bounces and pulses along and lets you set things up by feel.

Yes, yes, and yes, and to that last part, for some things I really NEED visual feedback, like really accurate visual feedback. Mostly in relation to peak information. Like I'm at the end stage of mixing (and arranging, and writing - and ultimately face palming) my TUNA! track and I'm cruzing around catching peaks, doing automation rides etc. This may be a completely no-compressor mix, or maybe later, there'll be plenty of room for compressing, but so I'm riding levels, and feeding into my master limiter, and I'm just dialing in my levels to hit my desired gain reduction in limiting. So making moves maybe across 5 or so sounds for any given peak, and I want to know, like bringing this hat down is giving me .4db, pulling this string tail is giving me .2db, etc, to get to my 1.6db gain reduction target. You know? Like this stuff is beyond feel and groove, this is just bloody peak management. Neway, there is a time and place for really accurate visuals - also known as I heart Pro*L.

disclaimer: my monitors are busted so i'm listening on headphones, as such my feedback mixdown-wise is probably questionable...

@Jizzman/Relka: wow really feeling that organ like synth you got going on, as well as the groovy interaction between the shaker and kick/snare. as pointed by nowaysj, it would be nice for the bassline to take a step back at some point. also could be just my headphones but one of the incidental perc hit sounds super harsh to me (the one at 0,23/0,27/etc), its especially noticeable in the beginning when the elements are sparse. but it could be just me...

@fragments/Paega: great job on the dystopian atmosphere, i feel the ominous horn-like stabs could be a little louder in the mix though. i'm not really feeling the kicks and snares, they sound dry and idk, they just detract from the rest of the elements imo. i think the atmosphere would work better with a more minimalistic approach percussion wise? also i'd say unless you intend to add more elements, the track could easily be 1/2 min shorter (coming from a guy who's barely able to keep tunes interesting for more than 2 min tho, so yeh...)

@lerabot: seriously heavy headbanger you got there, reminds me of old unreleased slugabed tunes from before he got signed to planet mu/ninja tune. honestly can't fault it. maybe the volume dip at 0,51 is unnecessary tho.

@BudSpencer and noways, did i miss yours ?