DSF Q&A 21: Objekt

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farina
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Re: DSF Q&A 21: Objekt

Post by farina » Wed Jul 25, 2012 4:32 pm

hey objekt

would be interested to hear if u have a particular method or any tips for arranging / structuring your tunes? Your arrangements are always interesting and very natural sounding.

It's by far the part of music making i find the most challenging and I often end up with tons of different 16/32-bar loops which I struggle to flesh out into a full song.

big up for answering all these x

kohler
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Re: DSF Q&A 21: Objekt

Post by kohler » Wed Jul 25, 2012 4:49 pm

Love your tunes...I'll keep it short.

Favorite drum samples?

Do you use Midi Groove templates (swing), keep it straight, or turn the grid off?

Most helpful production tip/trick/philosophy you learned recently?

Thanks!

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Re: DSF Q&A 21: Objekt

Post by leeany » Wed Jul 25, 2012 7:26 pm

hasezwei wrote:
static_cast wrote:
hasezwei wrote:ever been to münster?
yep. a friend of mine runs schaltkreis - i played there a couple of times as tj hertz.
really? heron, jon or nicetry? i remember one of my first 'proper' techno nights was schaltkreis, it was insane. sweat dripping from the ceiling and all that.
where'd you play, triptychon, favela or fusion? my dad used to own fusion in the 90's (back when it was called x-floor/cosmic club), i actually grew up on the hawerkamp. too young to remember but mom told me ive been jumping around on the stage when people like jeff mills did sound checks[/brag] :lol:

too bad i dont live there anymore... i know a couple guys in bremen who'd love to see you play here but their club has been shut down :/ music scene round here is pretty shit tbh
are you from muenster mate? I've lived there for a few years and I'm back there this sunday

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AxeD
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Re: DSF Q&A 21: Objekt

Post by AxeD » Wed Jul 25, 2012 7:39 pm

Your track 'CLK Recovery' always finds it's way into my sets. It's quite fast, but also really versatile in a mix.
The arrangement is a bit odd compared to the average techno track.. Did you have a clear goal in mind
while starting on this tune, or did it change a lot along the way?

Looking forward to hearing your set at Lowlands next month!
Agent 47 wrote:Next time I can think of something, I will.

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Marzz
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Re: DSF Q&A 21: Objekt

Post by Marzz » Thu Jul 26, 2012 6:03 am

Great that you are doing this :D
How did you go about creating the main riff's sound in "The Goose that Got Away" and just the mainly the basses and synths. What plugins did you use for them? Those synths are outstanding. :4:

Again big ups for doing this :4: :D
 
 
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Etches828
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Re: DSF Q&A 21: Objekt

Post by Etches828 » Thu Jul 26, 2012 9:33 am

You said earlier in your requirements to produce, a room that doesnt completely suck. What does that constitute? Is it more the shape of the room, or sound insulation? I'm trying to set up a bit more of a serious workspace in my bedroom later this year and I'm getting some monitors, more controllers, and a 2nd screen. The room is a large rectangle shape, is there anything I can do on the cheap?

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Disco Nutter
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Re: DSF Q&A 21: Objekt

Post by Disco Nutter » Thu Jul 26, 2012 2:55 pm

Just dropping in to say thanks for doing this.

I'm a fan! :Q:

Disco Nutter & Roka - Only Things (Bonkerz Audio)
Free download from here!


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staticcast
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Re: DSF Q&A 21: Objekt

Post by staticcast » Fri Jul 27, 2012 12:43 am

hi everyone - i am away until monday so apologies for the delay - normal service will resume shortly. will try and respond here and there when i get a chance.
o b j e k t

meef chaloin
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Re: DSF Q&A 21: Objekt

Post by meef chaloin » Fri Jul 27, 2012 1:16 am

Do you like cooking? If so, what kind of you food do you like to cook?

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jrisreal
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Re: DSF Q&A 21: Objekt

Post by jrisreal » Fri Jul 27, 2012 1:22 am

^This. And share some recipes as well please.
...in my opinion
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saul_cooper
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Re: DSF Q&A 21: Objekt

Post by saul_cooper » Fri Jul 27, 2012 6:08 am

Given that you grew up in a submarine how much did this experience affect your music and what advice can you give people who didnt grow up in a submarine but still want to make powerful technodubindustrialstep?

DrSpliff
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Re: DSF Q&A 21: Objekt

Post by DrSpliff » Sat Jul 28, 2012 8:52 am

Thanks for doing the Q&A. Where do you typically pan the different elements in your mix?

meef chaloin
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Re: DSF Q&A 21: Objekt

Post by meef chaloin » Sat Jul 28, 2012 4:14 pm

What EQ do you use? From reading the replies here it seems that you like the stock ableton plugins so do you always use EQ8?

I've been wondering which EQ I should use, I keep hearing great things about Fabfilter Pro-Q, and it is lovely to use, but I find it a bit CPU intensive and I really don't know if it actually any more effective than using the EQ8.

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Re: DSF Q&A 21: Objekt

Post by dubesteppe » Sun Jul 29, 2012 12:54 am

What would you like to see in the next version of ableton?

Also, how do you process your sub bass?
THANKS! :U:
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Hircine
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Re: DSF Q&A 21: Objekt

Post by Hircine » Mon Jul 30, 2012 5:36 am

OBJEKT IS NI PLANNING TO RELEASE A DAW?

THANKS BIG UP






:U:
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phaeleh wrote:
bassbum wrote:The pheleleh tune I have never heard before and I did like it but its very simple and I could quickly recreate it.
Yeah I wanna hear it too :P

staticcast
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Re: DSF Q&A 21: Objekt

Post by staticcast » Mon Jul 30, 2012 11:09 pm

half_wsr wrote:First of all, thank you for doing this, I've always been thinking about those precious and mind-opening interviews that you can find on sound on sound and other sound engineering magazines and about the fact that you can very rarely find anything this way within the electronic music world, really thank you for your time.
you're very welcome. thanks for the interesting questions!
half_wsr wrote:1- What do you think about ableton library's drum machine sounds? how often do you use them and how do you process them? Do you think that sometimes looking for a well recorded 909 kick (for example) could really make the difference?
i use the ableton library quite a lot. having never A/Bed them with samples that i know to have been recorded direct into a soundcard, i can't say for certain that they're completely "dry", but the 909 and 808 hits sound very clean to me, which is basically what i'm looking for as i generally prefer to do the processing myself for extra control. i do use other samplepacks but this is generally for usability reasons (e.g. samplepacks grouped by drum machine rather than by drum type, WAVs pre-sliced, etc) and in most cases i opt for the cleanest samples possible.

in my use cases, i really don't think it makes much of a difference whether your samples were recorded into a cheap(ish) soundcard or €3000 converters, since i process them heavily anyway and 1-2 dB of EQ is going to make a much more drastic difference to the sound of a drum machine sample than any different converter on the market. this doesn't apply, of course, if you're looking for heavily processed samples (e.g. run through tape, tube gear, compressors etc), but that's not really my workflow.

one thing to remember is that every stage of processing can affect the sound in ways you might not expect. it's important to learn what each component in the chain can do. for example, even if ableton's samples are pretty dry, if you load up one of the standard drum rack presets then the macro controls might be wired to things that don't necessarily make a lot of sense. the sample start might be clipped off inaccurately. the sampler filter might be enabled, the envelopes might be set in such a way that the decay is clipped or attack is smoothed - etc etc. i almost always prefer to load WAVs directly into an empty sampler with no "extras", so that i can start afresh and know exactly what i'm doing to the raw sample.
half_wsr wrote:2- What is your opinion about ableton's reverb? I've been trying out several reverb plugin and I've noticed that this one doesn't have one of (in my opinion) the most important parameters that a good (or better saying, "realistic") reverb should have, which is absorption, and the fact that you can just quickly filter out the high frequencies with the built-in filter is the cause of its "coldness", but i've recently found out that you can use it for different purposes like granular synthesis (home made, with extremely fast looping sampler + extremely long reverb), to "craft" a sound, rather than an environment. any suggestions about good reverbs?
i think it's ok. it's not necessarily the most realistic, but electronic music by definition does not sound realistic so i think you've kinda hit the nail on the head. like most of the ableton stock FX, the main reason i use it almost exclusively is because it fits into the GUI and i find that my workflow is drastically more streamlined when i don't have to keep opening up plugin windows. the only other reverbs i use are the guitar rig spring reverb (the ableton reverb doesn't do springs at all) and reflektor when i do need something particularly special (which is quite rare).

re: absorption, i'm not sure what you mean? the ableton reverb has a "time" parameter, which is the inverse of room surface absorption. the absorptive qualities of these reflective surfaces are generally simulated by filtering in the feedback loop, which is also available in the the ableton reverb.
half_wsr wrote:3- I'm really getting into sample-based processing techniques to craft my sounds recently, and I've found out that every single DAW has slightly different ways to manage samples, especially in pitch and stretching algorithms (i suppose). For example, I really like Logic ones, but I'm literally addicted to ableton and I use this feature so much that I can't even imagine changing daw every time i need to pitch or stretch something, so I'm currently trying to use all ableton's options best as I can (complex pro on top of all of them) , but I still think that there must be something much more powerful (I was really impressed by Amon Tobins sampling but I've never got even close to those kind of pitch prodigies), I've tried out Kontakt but it didn't really catch me (I was probably doing it wrong..) any suggestions?
hmmm. i've actually been wondering the same thing. ableton's time stretching is incredibly useful for sound design but not necessarily rigged up for the most flexible options. i think a lot of the film SFX/sound design people use granular synthesisers like alchemy or kyma but i've never got around to trying these out.

kontakt isn't really set up for granular stuff. you can get some very cool effects in ableton sampler though, by setting very short loops and modulating them with the aux envelopes - robert henke did some great videos on this (and a lot of other very cool stuff) which are still on youtube i think.
half_wsr wrote:4- What do you think about ableton dynamics? I've recently started using Waves c1, api2500 (for sidechaining) and L3 Multimaximizer, but I very often still use ableton's compressor (but not the limiter) because is much simpler and quicker and I like how it sounds, most of the times. How much do you think a good vst compressor affects the sound of productions nowdays?
i use the compressor for basically everything. i can count on the fingers of one hand the number of times i've used anything else. i guess my feeling here is similar to that re: the reverb. i may well be missing out, but i've always managed to get by so far with just the live compressor, and the fact that no other compressor fits into the ableton GUI is a huge disincentive to shop around.
half_wsr wrote:5- Do you know any good pitch shift vst to work in real time? (live situation) I've done hours of research to find one that I needed to perform a track in a live set and It was really disappointing that I didn't find any good pitcher/octaver/voice transformer that would not do its job without some delay time (unavoidable, not even changing the buffer size).
most good-quality pitch shifting is latency-inducing by nature since most algorithms are buffer-based; how much latency depends on the plugin. but ableton (and most DAWs) have latency compensation which works perfectly as long as you're using it on prerecorded audio or MIDI (i.e. a channel on an arrangement rather than a live input).

i've never really needed realtime pitchshifting so i don't have anything specific to recommend, but live's frequency shifter is kind of ok if you don't need it to sound particularly realistic, and AFAIK is zero latency as it's just a ring modulator. you could try some kind of guitar whammy emulation - i don't know exactly how they work, but guitarists use em so they can't be that laggy.
half_wsr wrote:6- What is your opinion about the electronic music sound, related to the real world? This topic is quite wide actually, I've been thinking about it under several aspects, like how live-performed drums sound more "nice" to the human ear than mouse written patterns (if you don't use swing or off-grid tricks, that are indeed to create a "live" feeling), or how important is to create a fake "environment" with sends and reverb to give depth to a track, or (on top of all probably) how the sampling from the real world affects the feeling of a computer-made track. Do you think is all a matter of taste or that there's something more underneath all this? Do you think cold is sometimes better than warm and realistic?
interesting questions. your last question maybe answers itself. often - and i know i'm contradicting some previous posts here - i think finding the right balance between uniform and variant is not always about trying to emulate the live drummer exactly, but rather distilling certain aspects of his/her performance. to me, the most interesting thing is trying to find the sexiness within such a mechanical groove - like writing music for robots to dance to - rather than trying to make a drum machine sound a drummer. techno is inherently about repetition, and much of the power comes from the mechanical nature of the programming. (on a tangent, this is why i often find live techno acts with live drummers fundamentally disappointing, because the drummers often misinterpret their rhythmic role. by the same token, it's why i think a lot of punk drummers with awful technique sound more stiff and therefore more "techno" than the session drummers that often end up playing with the big-ticket electronic touring acts.)

IMO you need to be careful when trying to emulate the rhythmic characteristics of live instruments within a genre like techno, especially with regards to percussion, since it doesn't always work that well. using a super high-quality velocity-triggered randomised patch for bongo and conga loops is one thing, since bongo and conga loops are usually played by hand anyway, but i've very rarely used more than one velocity layer for a kick drum. accenting (using more than one velocity level) is tremendously important to the groove, but a live drummer will play every hit at a different velocity, and such variation in level can sometimes be detrimental to the energy of a rather mechanical loop. my compromise is often to accent by extra layers (different samples) on certain notes rather than simply increasing the velocity, or to limit the velocity levels to two (soft and hard) rather than a continuous spectrum of 0-127. (remember that this is how a lot of drum machines and synths with built-in sequencers used to work: you had two velocities, normal and "accent", with the accent being louder and sometimes with a slightly more open filter.)

this ties in with the idea of optimising loop lengths… depending on the style you're going for, different elements will loop at different points. a lot of loop techno sounds like it loops every 2 beats but if you listen more closely the hihats might be looping at 4 beats, there might be an open hat every 8 beats, an incidental every 16 bars… etc etc. it's structural details like this that can add a human touch to a very rigid framework - the stuff that makes exceptionally loopy music sound very organic.

i use reverb for placement and special effect, not really for realism. by placement i mean moving things forward and backwards in the mix and helping certain things to sit better. most of my sounds are actually pretty dry. i automate send levels a lot, or even better, set up an effect rack as an insert with a dry channel and a 100% wet channel with a feed volume in front of it… that way i can automate the send amount to a reverb but still use the reverb as an insert and process the output (e.g. compress the dry+wet together to bring out the tail).

as for producing off-grid, i do it i'm going for a certain effect (e.g. cactus) but usually stick to the grid for consistency reasons. i use swing templates quite a lot, which technically does push notes off-grid, but in a more controlled way. sometimes i'll swing the hihats more or less heavily than the other parts. often i shift entire tracks back or forward by a few ms using the channel offset in live… this can be nice if you later compress two tracks together (e.g. it can bring out the attack of a hihat 2ms before the kick hits). there aren't really any rules here.
3za wrote:How do you approach doing a remix?
by far the most important part of doing a remix is only accepting the remix offers where the track already gives you some ideas of where to start. interesting sounds to work with, a great chord progression, a great vocal, interesting structure. if you're inspired by the constituent parts then it basically becomes a track of your own, which is exactly how i approach remixes. i like to think that my remixes are just as 'complete' as my original productions. i don't really get it when other producers talk about doing remix work as gap-filler… i take just as long on remixes as i do on my own tracks.
3za wrote:What freeware (vst/ensemble/standalone) is essential to your production?
not much. i use smexoscope sometimes when i really need to see the waveform for whatever reason.
3za wrote:Have you ever watched My little Pony Friendship Is Magic?
i have not
drdeft wrote:How many headroom do you leave when producing ? ( what is the average Db of Kick and bass )
i try not to let any channel go over 0dB internally, make sure every effect maintains the same perceived volume when bypassed, and keep my loudest channels under -5 or -6dB post-fader so that i don't have to bring down the master. it doesn't really make a difference to sound quality but it definitely helps you structure your mixdown better if you can see the metering clearly at every stage as opposed to simply redlining everything.

apart from this, no rules.

farina wrote:would be interested to hear if u have a particular method or any tips for arranging / structuring your tunes? Your arrangements are always interesting and very natural sounding.

It's by far the part of music making i find the most challenging and I often end up with tons of different 16/32-bar loops which I struggle to flesh out into a full song.
depends a lot on the kind of music you're trying to make. if you're making functional techno then proper arrangement largely amounts to effective automation and bringing parts in and out, and also to exercising restraint (don't try and cram too many ideas into one track but rather be patient with the ones that are there and give them space to breathe). incidentals and fills are absolutely crucial. try loading your favourite tracks of a similar genre into a DAW and annotating every single event, no matter how minor (e.g. "incidental here", "filter cutoff rises on lead", "reverb swell", "hihat decay opens up" etc). you might be surprised at how much "little stuff" is actually contributing to the overall flow of the track, how few "major" parts there actually are.

my arrangements are often the result of trying to fit too many tracks into one. unglued is a good example. i'm happy with how it turned out in the end, but it feels like more of a 'song' and would have been a more effective tool if i'd simply cut out one of the sections.

kohler wrote:Favorite drum samples?
606, 909, dmx, kpr77
kohler wrote:Do you use Midi Groove templates (swing), keep it straight, or turn the grid off?
only ever straight and various levels of swing. occasionally i'll take some hits off the grid. i never use any groove templates that affect the velocity.
kohler wrote:Most helpful production tip/trick/philosophy you learned recently?
a couple of years ago i scribbled a big sign and pinned it to my wall. it says "stop messing with the kick drum and make some music"

i think this applies to more than just kick drum sound design. you could just as easily say "stop messing with the loop and write a song". the point is not to lose sight of the wood for the trees, not to tire out your ears on details that don't matter as much (until the final mixdown stage), and, most importantly, to not be too precious about any one element of a track. if a sound/clip/rhythm/synth isn't working, make a backup and replace it entirely.

also, see my post above about my workflow re: writing down tasks in a list.

AxeD wrote:Your track 'CLK Recovery' always finds it's way into my sets. It's quite fast, but also really versatile in a mix.
The arrangement is a bit odd compared to the average techno track.. Did you have a clear goal in mind
while starting on this tune, or did it change a lot along the way?
yeah, it was originally going to be more raw and stripped - more like the intro, with more chords, and the kick coming in and out. lots of space. but i grew restless and expanded the arrangement. maybe some day i'll make another edit.
AxeD wrote:Looking forward to hearing your set at Lowlands next month!
as am i :)
Marzz wrote:Great that you are doing this :D
How did you go about creating the main riff's sound in "The Goose that Got Away" and just the mainly the basses and synths. What plugins did you use for them? Those synths are outstanding. :4:

Again big ups for doing this :4: :D
thanks!

have a search for DSF samplepack competition #23… most of it is from the original samplepack. once the competition was finished i replaced some of the drums and tightened up the mixdown, but there's not that much new in there.

the lead synths mostly come from the one chord sample - pitched an octave apart (i think), differently filtered and EQed and then layered together.

the sub comes from repeatedly bandpass filtering a very short loop (tuned to the right pitch) of one of the samples. if you use a high resonance, keep filtering, resampling and repeating then you eventually end up with a sine wave. distort the fuck out of this and you end up with a square wave. load into a sampler and you've got a basic subtractive synth. apply some frequency modulation and you've got an FM synth.

i suppose this technique stretched the rules a little bit but technically all the sounds still came from the sample pack, and i think the whole point of those competitions was to find inventive uses for the tools that you use.
Etches828 wrote:You said earlier in your requirements to produce, a room that doesnt completely suck. What does that constitute? Is it more the shape of the room, or sound insulation? I'm trying to set up a bit more of a serious workspace in my bedroom later this year and I'm getting some monitors, more controllers, and a 2nd screen. The room is a large rectangle shape, is there anything I can do on the cheap?
have a look through ethan winer's acoustics website; i can't remember the link offhand but he wrote a very informative primer on room acoustics.

i have actually never got around to installing any acoustic treatment in any bedroom i've ever lived in (yep, that's still my studio), but living in berlin has afforded me the luxury of quite a big room for the past three years, which acoustically isn't so difficult as the london shoebox in which i would otherwise be living. small rooms with really aggressive resonances are very difficult to produce in, and no, you can't really correct this electronically or with different sized speakers - only by acoustically treating the room itself.

to cut a long story short, you basically want as big a room as you can get away with (and/or afford to treat), ideally not square, with bass trapping to prevent room resonances, and early reflection damping to prevent the top end bouncing off a wall straight back to you. the latter is the easiest and cheapest to fix but arguably the least important. there's plenty of info on the internet; google is your friend.

if you really can't afford to treat your room, then at the very least you need to make sure you check your mixes while walking around the room, on other systems, on headphones, etc etc, and A/B them with recorded material. the better your listening setup and the better you know it, the less you have to do this.

if you ever have the opportunity, go sit in on one of your mastering sessions and realise just how much shit you simply can't hear on your home setup due to poor acoustics (and to a lesser extent poor monitoring). it can be very eye-opening.
Disco Nutter wrote:Just dropping in to say thanks for doing this.

I'm a fan! :Q:
thank you!
meef chaloin wrote:Do you like cooking? If so, what kind of you food do you like to cook?
i do, but don't cook as often as i would like, being quite a busy bee. i don't buy that much meat and i'm allergic to dairy so i end up cooking quite a bit of vegan stuff. i like deep-frying tofu and then making dressings for it… the trick to really crispy tofu is to flour the tofu first and then fry it super hot in about half an inch of vegetable oil before drying it on paper towels and putting it to one side. make the sauce or dressing (try soy sauce, ginger, chili, garlic, sesame or peanut oil, black pepper) and mix it in afterwards with some sauteed onions and whatever else you like.

grilled or roasted cauliflower with a lemon juice, olive oil and kalamata olive dressing is another favourite. i got the recipe online so i'm sure it's googlable.

haven't made it in ages, but i like roasting chicken whole with basil, rosemary, lemon zest and lots of salt, pepper and olive oil stuffed between the breast and the skin, with lemons in the cavity. stuffing all of that under the skin is a bit messy but worth it; you can also slit the leg meat and put more herbs in the slits. rub the whole thing with olive oil, rock salt and pepper.

objekt recommends ethically sourced animal products :j:
saul_cooper wrote:Given that you grew up in a submarine how much did this experience affect your music and what advice can you give people who didnt grow up in a submarine but still want to make powerful technodubindustrialstep?
i think it was more of a hindrance than a help, really. all my synths would go out of tune whenever we had to surface, and the drexciyan attacks got quite violent towards the end
DrSpliff wrote:Thanks for doing the Q&A. Where do you typically pan the different elements in your mix?
you're welcome. almost everything is dead centre. there's quite a lot of stereo content, but this is usually through layering an instrument and panning the layers left and right (e.g. a 606 hat with an 808 hat). sometimes i will automate the pan for creative purposes, but in a more functional mixdown sense i prefer to think in terms of "mid-sides" than "left-right".

one thing to bear in mind is that stereo width can detract from perceived intensity. a mono kick drum and sub are not only important for vinyl mastering and soundsystem translation, but also because they are usually the anchor of your track and it can be beneficial to have them sit in quite a localised space.

meef chaloin wrote:What EQ do you use? From reading the replies here it seems that you like the stock ableton plugins so do you always use EQ8?
pretty much.
meef chaloin wrote:I've been wondering which EQ I should use, I keep hearing great things about Fabfilter Pro-Q, and it is lovely to use, but I find it a bit CPU intensive and I really don't know if it actually any more effective than using the EQ8.
i would say generally not. in some cases you might want a linear-phase EQ to do some extreme filtering in a more transparent manner, but i rarely if ever find that transparency is something i want when i'm filtering out everything below 200hz (or whatever). i actually use EQ8 often as a filter, with two or four identical poles.

don't forget you can put it in high quality mode (right click the title bar), which oversamples to 88kHz and affects the frequency response when you're using high corner frequencies (set a LPF pole at 15kHz and enable high quality mode and you'll see the difference on the graph).
dubesteppe wrote:What would you like to see in the next version of ableton?
ooft. lots of things, but mostly quite basic workflow stuff:

- better channel strip metering (taller meters in between plugins, RMS metering, etc)
- racks with more than 8 macros
- tighter automation with proper buffer size compensation (this might just be a bug in 8.2.8…)
- more keyboard shortcuts (i'd pay for an upgrade just for this)
- ability to group groups into groups
- individual channel delay offset within instrument and fx racks
- built-in oscilloscope
- dual monitor support
- 64-bit for more RAM support

dubesteppe wrote:Also, how do you process your sub bass?
usually i just use a sine with a gentle sidechain off the kick, pitch envelope (for punch) and sometimes a very gentle low shelf EQ to slope up the lower notes (which are perceived as quieter).

good sub is less about the sub itself and more about how everything else sits around it.
Hircine wrote:OBJEKT IS NI PLANNING TO RELEASE A DAW?
i dunno. this intergalactic submarine is our main priority at the moment but i don't think i'm meant to tell anyone about that
o b j e k t

dubesteppe
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Re: DSF Q&A 21: Objekt

Post by dubesteppe » Tue Jul 31, 2012 1:08 am

if you are looking for more macros check out this max for live patch. http://covops.dreamhosters.com/uploads/ ... rs.alp.zip it lets u have 16 :) it also lets you map anything thats midi mapable to the macros, AND it lets u morph between macro states
Cheeky wrote:Ohmicides amazing, but its a bit like massive to me. Its like having a huge dick and not knowing what to do with it so it flops out of your shorts when your walking, it takes a while to buy the right pair of shorts to control the dick.
Cheeky wrote:Having 4 DAWs is like having four dicks, you only really need the one

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jrisreal
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Re: DSF Q&A 21: Objekt

Post by jrisreal » Tue Jul 31, 2012 1:58 am

Serious question:

Who's the coolest musician you know personally?
Last edited by jrisreal on Mon Aug 06, 2012 9:30 pm, edited 1 time in total.
...in my opinion
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Disco Nutter
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Re: DSF Q&A 21: Objekt

Post by Disco Nutter » Tue Jul 31, 2012 5:24 am

static_cast wrote:
Etches828 wrote:You said earlier in your requirements to produce, a room that doesnt completely suck. What does that constitute? Is it more the shape of the room, or sound insulation? I'm trying to set up a bit more of a serious workspace in my bedroom later this year and I'm getting some monitors, more controllers, and a 2nd screen. The room is a large rectangle shape, is there anything I can do on the cheap?
have a look through ethan winer's acoustics website; i can't remember the link offhand but he wrote a very informative primer on room acoustics.
I have it bookmarked: here it is. :)

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Re: DSF Q&A 21: Objekt

Post by webstarr » Tue Jul 31, 2012 11:53 am

You mention it takes you several weeks to complete a tune, do you usually focus in one at a time or do you have several different projects on the go concurrently?

Also quite a broad question but how do you approach your DJ sets?

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