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hahahah aw shit i just had to be that person that fucks everything up-_-
ill pm n try deleting the one i pout up

You're like my wife. Why bother having the conversation if you're just going to forget it tomorrow!

We're alone in this world!

is it fine if i sendin some reworked stuff again havent made anew tune this week

nowaysj wrote:You're like my wife. Why bother having the conversation if you're just going to forget it tomorrow!

We're alone in this world!

haha nah man i was just excited that i was able to turn in my shit in on time this time

this isnt the submission for the novation contest i was telling you about i think ill turn that one in next week,im really trynna get these tunes down

I'm good with it. We're going forward so much, good at some point to circle back and fix some shit we let slide for the deadline, cha'know?

I'm feeling like I might need a bit of a break myself. I think I'm going to have to build a reaktor drum sampler cause my frustration with existing vst's is starting to get out of hand. I know nothing about reaktor, so I imagine it is going to be A LOT of wasted hours.

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And good shit psychs!

I wish I could turn in my dsf#43 track for TUNA! Which was originally my intention before I figured out that that wouldn't be a good idea.

ah no i mean really old reworked shit lol but yeah i let you deside expect some tunes tmrw haha

i mean you can pm us the wip so its still unheard if nobody of us votes

Bah, whatever! I'm always working on more than one thing. I've got more carpenter-hop. Carpenter-techno-hop.

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re old tracks, yeah bud, still, I say whatever. It is all part of the process of song making, right? I think TUNA! could be destructive if it was solely about this forward momentum. You've got to go back, and look at what you've done with new perspective. IMO it is a really hard thing to do, to open an old song file, and really get back in it, and produce something that is continuous/seamless, better than it was before. A necessary skill. TUNA! is great for getting to that point where you can just fucking crank songs, like from start to finish, to mix, to ghetto master. But once that skill is cracking, there are a lot of other skills necessary for making truly dope tracks.

got suttin ambient this time yeh, suttin AVANT-GUARD

I was talking to my mum and saying how I make stuff thats kinda experimental music. The next day I ask what she's doing in the back garden and she says Experimental Gardening. and she starts showing me her experiments and shit and I'm telling you, this is some mindblowing shit. Hop on this new trend while its still hot imo

exactly

and i honestly think you dont get better in music you just change. or maybe you get better technically but theres no way your ideas get better. thats why so many fall in the trap of doing the same shit over and over again which is ok i guess and sublimly even if you dont wanna do it you are forced to follow some guidelines you build for yourself to keep going atleast some way

BudSpencertron wrote:exactly

and i honestly think you dont get better in music you just change. or maybe you get better technically but theres no way your ideas get better. thats why so many fall in the trap of doing the same shit over and over again which is ok i guess and sublimly even if you dont wanna do it you are forced to follow some guidelines you build for yourself to keep going atleast some way

to nowi´mjayz

JizzMan wrote:I ask what she's doing in the back garden and she says Experimental Gardening.

Sounds like you've got a good momz.

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Bud - you know, I come from an art background that is really into seriality, continuity, singular vision, trademark, branding, profit. One of the things I rejected. Just was not into it. I guess there was continuity in my paintings, but they were so labor intensive - 6mos a piece, it was hard to go serial but of course, there is a lot of the same person making that work, so it will show, I guess.

BUT, in the past couple of months, I've really felt, like, a very profound gravity around dfault's aptly named carpenter-hop that I've been doing. So, I'm, in my mind at least, beginning to serialize my work.

And you said there is no way your ideas get better. I agree, but in some respects I disagree. If your work is like a relationship, between you and the work, I think as time goes, and you relate to the work, your relation deepens. You understand more. You understand yourself, the work, the relationship. So in a way, I think the ideas can become better through the depth of engagement.

Also, what we do is so freaking technical, I can't imagine like seriously plateauing in technical knowledge. And granted, most of the shit I'm learning, I've already learned, and forgotten several times over, which is, like that discussion with dr. psychs up there, FRUSTRATING. But it is the way of things.

I don't know, bud. It is all good, that is what I know. There is a time to work feverishly, a time, to put it down entirely, a time to go back and edit, and reinvigorate. A time for all of it. Got to be real with yourself, and draw on your experience on when to allow those things. I've still really really got the fever to be making tracks, more so than at any point in my life, BUT, I know I'm kind of reaching that point where sitting at the computer is like making me break out in hives, like I've just had enough of working here, being here. I think I've been spending too much time here, physically, mentally. Which sucks, because this is where I want, and really need to be... but I've got to respect that feeling, like I need a break.

thats exactly how i feel man

i might be a good decade younger than you but i make this shit like over half of my life now.
first the ideas grapped me than the effort to finish sth than like maybe a year ago i started to think about mixing still suck but thats like what grapped me again.

but if the mixing and all this (compression reverb resample effect ...)stuff doesnt grap me anymore i need to go back to ideas and thats what i fear

so you are right when you say our ideas get better(develope with us over time IF we still have them

Tell me more about your drum sampler woes NWJ. What don't the existing samplers do that you want them to do?


ps I haven't forgotten about the beta plug, just doing an overhaul to the backend code so it's more flexible. That way I can swap out modules in various sections (transient detector vs envelope follower vs RMS detector for instance) Once I finish that scheme, I gotta implement the sidechain and signal EQ and then it should be ready for some testing. I was gonna add in an M/S mode as well but it's already savagely complicated as it is, so that might be something that'll have to wait till V2.0

sunk, ive got some legit issues, and done some pro design work on stuff like this in the past. lezz start a company and make this, prototype in reaktor build in c++?

lez do.

Building a drum sampler would be a fucking lot of work from an algorithm perspective but a lot of fun from a creative perspective. Resampling, optimizing memory usage, writing an engine to handle polyphony and sample crossfades... What a project. But damn it'd be sweet to design from the ground up.

See my ps in the comment above regarding the beta testing.

SunkLo wrote:Building a drum sampler would be a fucking lot of work from an algorithm perspective but a lot of fun from a creative perspective. Resampling, optimizing memory usage, writing an engine to handle polyphony and sample crossfades... What a project. But damn it'd be sweet to design from the ground up.

See my ps in the comment above regarding the beta testing.

I'm shitting you not - I see a hole in the market. This product just doesn't exist. Nothing does new beat making entirely right, or even very well. Maschine is pretty good, but just doesn't get all the way there. I've used fucking guru long ago, but have never tried geist, I bet it is pretty close to what I'd want, but without working with it, hard to say. I'd like to do something much lighter than geist though, that is a heavy boy with sequencing etc. Not what I'm looking for, but I'm talking about a real PLAYABLE drum sampler with features specifically built for contemporary beats production. I'm constantly trying to do something, and not being able to in software, go to hardware... and even then this device does x, that one y, nothing x, y, and z.

Yeah I'm not feeling the sequencing in a lot of instruments. I could understand if I was doing a live show with standalone gear or some shit, but this is software. Why wouldn't I just sequence it in my host?

I was digging the Ableton sampler but they don't let you unlink pitch and time. So if you wanna pitch a sample up it gets proportionally shorter and vice versa. Makes it impossible to use rhythmic samples or do any radical repitching. It astounds me given the fact that one of Ableton's main features is audio warping.

SunkLo wrote: I was digging the Ableton sampler but they don't let you unlink pitch and time. So if you wanna pitch a sample up it gets proportionally shorter and vice versa. Makes it impossible to use rhythmic samples or do any radical repitching. It astounds me given the fact that one of Ableton's main features is audio warping.

This is from page 6 or something from this thread but I agree with you. It's not impossible but mad annoying.

mks wrote:I learned a lot from this particular exercise or maybe re-learned some things that I had forgotten. I did end up restricting myself to only using samples from that one samplepack which were all Jungle samples from 150 to 170 bpm. I made my track at 126 bpm. I found a strange lack of a feature in Ableton that I remember encountering before a few years ago. When you bring a 165 bpm sample (or whatever) into a 126 bpm tune, Ableton automatically timestretches it of course. But when to try to drag that timestretched sample into a sampler (in my case I used only Simpler and Drum Racks for the entire tune, since this was all samples), the sample would revert to its original tempo. Kind of annoying.

My workaround was to just create a new audio track and resample the timestretched audio, and then I could drag it into the sampler at the tempo that I wanted it.