H
hot trax
Guest
^^^^^^^ welcome.
D
DJ Micahphone
Guest
I've never tried recording without a computer for anything. Wow
K
Kwells
Guest
the luv in this room is dynamic....that's what it all comes down too...between people and sound..music and the like...Blueboy..it's interesting how life pans out.....your teacher..I do agree w/ you.....if I did pull on your leg...even the short one...it's all in good faith...if there is such a thing..........peace.....
once again, what i am about to say depends on your knowledge of the underground hip hop genre... but, Little Brother put what easily is the most talked about album of 2003 for indy hip hop. (If you don't believe me, it was nominated for a Grammy, Ninth Wonder was personally invited to produce on Jay-Z's black album, and that album is discussed more on okayplayer.com than any of their own artists including the Roots, Kweli, Badu, Common, etc.) Anyway, they recorded that album with no vocal booth and about as much equipment as a few college students can afford. They really didn't have much hardware... just a computer and some software. They had car noise and all types of isht going on in the backround, but you really can't tell because they engineered the isht out of it.
i just got done reading all the old posts about vocal booths, and the dicussions about how you can't achieve tight vocals unless your vocal booth is like this or like that. all of it nonsense to me.... just do the best you can... what will determine success is your EAR! thats it. if you have a good ear for this, than you can record underwater vocals and make it sound good. If you truly know what sound you want, you can tweak until it gets there.
you right kwells... the luv around this subject is cool... i am glad that there are others around hear willing to break the rules. like black thought says: infinitely go against the grain!
apex
i just got done reading all the old posts about vocal booths, and the dicussions about how you can't achieve tight vocals unless your vocal booth is like this or like that. all of it nonsense to me.... just do the best you can... what will determine success is your EAR! thats it. if you have a good ear for this, than you can record underwater vocals and make it sound good. If you truly know what sound you want, you can tweak until it gets there.
you right kwells... the luv around this subject is cool... i am glad that there are others around hear willing to break the rules. like black thought says: infinitely go against the grain!
apex
Foam mattress pads can be used to absorb unwanted reverberations around a vocalist. They won't cut out outside noise much at all, but they're semi-okay for absorbing ping in a small room. (They're a bit reflective themselves, of course, compared to $50 a sq yard acoustic foam, but, you know.) You can tack them to walls or hang them around the vocalist.
(Just remember, no pyrotechnics around them!)
(Just remember, no pyrotechnics around them!)
plurbofthesea
New member
i think that digital and analog shall swirl in unison.
LANSTARR.COM
New member
Not record on PC or MAC? WTF 
. That is ridiculous. 
. That is ridiculous. Sometimes, I just skip the PC altogether...
...I grab a virgin CD-R blank, hold it flat against my forehead, and concentrate real hard. What comes out is genius, of course.
Haven't tried it with a DVD-RW yet, though. Not sure I have the brainpower throughput to avoid buffer underruns...
...I grab a virgin CD-R blank, hold it flat against my forehead, and concentrate real hard. What comes out is genius, of course.
Haven't tried it with a DVD-RW yet, though. Not sure I have the brainpower throughput to avoid buffer underruns...
plurbofthesea
New member
ridiculous is not being able to fathom....i mean whats to say what you do isnt totally absurd to anything i consider ,thought or action wise?or what anybody else considers for that matter..there are no set standards for music production...and that i feel we all should follow...amen
K
Kwells
Guest
You could technically probably use a parrot to record your sounds...an organic sampler...looping and accessing the samples you want played back may prove to be tricky...
Kwells
You are deep. I hope you stick around!!!
For polyphony, of course, you'd have to get a bunch of parrots. But then, if you also trained them to ring bells like the parrots used to do on the Ed Sullivan show it would be kind of like a combo sampling/MIDI workstation.
You are deep. I hope you stick around!!!
For polyphony, of course, you'd have to get a bunch of parrots. But then, if you also trained them to ring bells like the parrots used to do on the Ed Sullivan show it would be kind of like a combo sampling/MIDI workstation.
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K
Kadafi
Guest
LMAO!!!
C
ComPLEXity
Guest
Music and Pc's Together are more powerful than most equipment. Stick to a pc you can always garuntee quality.
baggysound
Radioactive
ComPLEXity said:
if the user lacks knowledge and talent even a pc won't help..
it's true that most things are done easier with a pc, but that doesn't guarantee anything..
imho your quote's just simply wrong..
you just have to know what you are doing (that goes for hardware and software) to get a great sound
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Yeah... the most important gear in your studio is everything between and including your ears...
I have both hardware and software synths (and my recording history spans from analog tape, through digital tape, and for the last 8 years has been hard drive based) and you can get good results with any of it.
But you have to have the knowledge and feel for how to put the music together if you want to come up with something good -- of your own. (Yeah, there are a lot of tools, from beat boxes to loop-based music 'construction kits' to all-in-one 'rack synths' with prefab sequences that allow you to assemble slick sounding music quickly and easily without knowing hardly anything... but it has all the personality and originality you put in -- if you know what I mean.)
The biggest problem I see when I read posts from new producers is that a lot of them seem to think they can just jump into the middle without knowing their craft and taking the time to learn how their gear (soft or hardware) really works and make interesting, creative music.
I've been asking and answering questions on music BB's since the early 90s (before the web on Compuserve and other BBs) and the level of questions people ask now -- and the pervasive ignorance -- is shocking to me.
When you have to explain the difference between mono and stereo to someone who calls himself a "producer" and who's trying to sell beats... well, geez, I dunno...
I have both hardware and software synths (and my recording history spans from analog tape, through digital tape, and for the last 8 years has been hard drive based) and you can get good results with any of it.
But you have to have the knowledge and feel for how to put the music together if you want to come up with something good -- of your own. (Yeah, there are a lot of tools, from beat boxes to loop-based music 'construction kits' to all-in-one 'rack synths' with prefab sequences that allow you to assemble slick sounding music quickly and easily without knowing hardly anything... but it has all the personality and originality you put in -- if you know what I mean.)
The biggest problem I see when I read posts from new producers is that a lot of them seem to think they can just jump into the middle without knowing their craft and taking the time to learn how their gear (soft or hardware) really works and make interesting, creative music.
I've been asking and answering questions on music BB's since the early 90s (before the web on Compuserve and other BBs) and the level of questions people ask now -- and the pervasive ignorance -- is shocking to me.
When you have to explain the difference between mono and stereo to someone who calls himself a "producer" and who's trying to sell beats... well, geez, I dunno...
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K
Kwells
Guest
What up....I'm back....Blueboy...very true....you do have to have the ear for fear...the greatest pieces of gear I have ever owned in my studio were my ears....they're great....I love them....and with time comes knowledge.....and in some cases the more challenging the gear(soft or hard...ya'll now what I perfer anyway)....the more rewarding the music...and the almost forced "originality" is brought to life in a new light....not just for yourself, but for whatever audience you target.....but when it comes down to it.....it first must reward you....
......if you don't make yourself work for it....it was never yours to begin with.....and in this game "your" knowledge is power.....and the best kind out there....peace
ps....what's stereo....mono
......if you don't make yourself work for it....it was never yours to begin with.....and in this game "your" knowledge is power.....and the best kind out there....peace
ps....what's stereo....mono
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balma
New member
ComPLEXity said:
I can control digital and analogic synths with a EMU command station.
when I make live acts, at the end, some people ask me how do I make to play all that music, without rest and without a mixer and a computer, and keep the beat right.
It's so easy: just buy several synths, a central brain like the EMU and a few MIDI cables, and let's go!
I don't see too much physical interaction, or too much excitment on performing music with a computer.
Realtime, is, IMHO, the last and best word. It's hard to me to express my feelings, if I'm not playing the music.
balma said:
Well, for physical interaction, I like to go to my 105 year old upright piano. You're not just interacting with something now. In a way you're interacting with the past, too. That thing has been storing vibes for over a century, and when you open up on it, they all come tumbling out. (No, really.)
But I'm not sure I see a whole lot of difference between "playing" your hardware synths yoked to a standalone sequencer and/or controlled from a KB controller and playing soft synths via a (nice, fast) computer under a sequencer or a KB controller. (But, of course, you do have to have some real horsepower to play a bunch of soft synths in real time. And that's a good point in favor of hardware synths for live perf.)
In fact, being someone who started patching synths with real patch cords and sequencing them with real control voltages, I have to say that I rather prefer the centralized control I get from using a computer based sequencer -- I never used a hardware sequencer that could deliver the breadth of control or programming ease of any computer based sequencer I've used. (Although I do like the responsiveness of hardware synths and still have a spot for one or two in my rig.)
On the other hand I really like the ability to download free soft synths (or even, shudder, spend money on them). I have 6 or 7 entirely decent soft synths, some of them polyphonic, a couple of them fairly innovative, at least from this old coot's perspective.
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balma
New member
There is a huge difference, I could say, a light-years distance, between playing only synthesizers on realtime, than having a computer hooked to them.
in fact, I only look to the screens of the synths to see wich pattern is actual playing.
1. I can only use USER patches. Because some parameters of the patches must be modified to interact with other synths.
2. I've been programming-working on creating sinergy between the synths during several years.This is a long term proyect, each time I add a synth to the MIDI net, I know I'll have to spend one or two years more on reaching my goal.
Each synthesizer work as a part of a huge collective, they need group mentality, I take the pros of some synths to heal the contras of other synths.
In this MIDI net, if just one synth fails, all the others will crash, the relations and interactions of the synths are very complex, in order to produce new properties that you won't find on each of them. Even making them sound at the same time with a mixer in the middle, can't reproduce the effect of a continuous MIDI chain of all the synths pumpin as a single huge machine.
3. I don't use song mode. I use patterns of several lenghts, specially 4 and 8 measures patterns, but also, 7, 3, 32, 15, etc. I stay on a pattern, I imaggine on my head what's next, and I choose the next pattern.
I have several patterns at the same time. Because I programmed and composed everything (not a single sound, or track from Internet, or CDs, or factory presets) I know where is everything. This is an aproximmation of the USER info I have stored on each synth on its sequencer.
XL 7: 770-800 patterns.
MP 7 680-700 patterns
MC 909: 200 patterns, 30 pattern sets
EX 5: 200 patterns on 4 groups of 50.
Motif 200 patterns...
Electribe: 180 patterns.
etc....
etc...
SP 808: more than 12.000 samples, all of them ready to trigger. Not a single one from Internet, or Cd, or record of anybody.
Each sequencer has its own way to work, because all the synths have great differences on concepts, ways of manipulation, tools of recording, etc...
each pattern has its own personality, when I play pattern 18-7 of the XL 7, at the same time with the 18-7 of the MP 7, and the 18 of the EX-5 and the 18 of the Electribe, they will interchange info, they will talk with each other, will send commands and orders thru all the MIDI net, ordering tto the other synths, to position on determined sound, on determined knob position.
Everything is available to manipulate on the act,I have practice a lot to manipulate the BPM in a manual way, so they will keep the beat right.
I have a history on mi mind, before each 2-3 hours of presentation. I just need where is everything, and then, I can play a song with sense, with a soul, with Gestalt properties.
There are properties on songs that are only perceived when you listen them from the beggining to the end. that misterious information appears as a image, apart from the song, only when the song ENDS. That's the result of processing in your brain a serial of musical information on ANALOGIC and serial process. What you play on the third minute, will have consequences on the minute 5, the second song, will affect the way you enjoy the song 9. This only happens when you hear a set from the first to the last song.
IMHO, making music on computers, is like, renting a movie and see 20 minutes of this movie each day. You can say, I saw the complete movie, but it will never, never compare with looking the movie from begginning to the end without pressing2 "Pause" on your DVD.
That's why I combine the rigid, systematic objetive procedure of STEP-REC, pre recorded tracks, orders, command, with the subjetive poetic process of interacting as fast as you can, with your soul on your fingers, with those rigid commands that rule on electronic music. One method put the order, other, the caos and aleatory laws. Like nature. Each cloud has a pattern, but also, an aleratory, chaotic and misterious ingredient, that makes them all different. Maybe that's the reason I've never repeated a song in my whole life, in exactly the same way.
Bcause how you can put your feelings on the music, if you're not actually playing it? Are you gonna stop the feeling, go to the bathroom to take a piss, and come again, and say... well, where the hell I was...??? O yeah!!! I was feeling this and that...
Is ironic, I've spend months composing a single tune, but my best melody, a song that has a 4 minutes crescendo pads solo, was composed in that: 4 minutes.
I couldn't change the feeling I feel when I play music in this way, even for all the money of the world. I'm not just another watcher, maybe I'm the person that is enjoying the most on the party. Is necessary to walk a long, long way to achieve this, but it worths every drop of blood in your veins, cause playing musical instruments on realtime, creating a melody on the moment, with a synth, a piano, aguitar, whatever will always be the best way to make music.
sorry for the long post...
in fact, I only look to the screens of the synths to see wich pattern is actual playing.
1. I can only use USER patches. Because some parameters of the patches must be modified to interact with other synths.
2. I've been programming-working on creating sinergy between the synths during several years.This is a long term proyect, each time I add a synth to the MIDI net, I know I'll have to spend one or two years more on reaching my goal.
Each synthesizer work as a part of a huge collective, they need group mentality, I take the pros of some synths to heal the contras of other synths.
In this MIDI net, if just one synth fails, all the others will crash, the relations and interactions of the synths are very complex, in order to produce new properties that you won't find on each of them. Even making them sound at the same time with a mixer in the middle, can't reproduce the effect of a continuous MIDI chain of all the synths pumpin as a single huge machine.
3. I don't use song mode. I use patterns of several lenghts, specially 4 and 8 measures patterns, but also, 7, 3, 32, 15, etc. I stay on a pattern, I imaggine on my head what's next, and I choose the next pattern.
I have several patterns at the same time. Because I programmed and composed everything (not a single sound, or track from Internet, or CDs, or factory presets) I know where is everything. This is an aproximmation of the USER info I have stored on each synth on its sequencer.
XL 7: 770-800 patterns.
MP 7 680-700 patterns
MC 909: 200 patterns, 30 pattern sets
EX 5: 200 patterns on 4 groups of 50.
Motif 200 patterns...
Electribe: 180 patterns.
etc....
etc...
SP 808: more than 12.000 samples, all of them ready to trigger. Not a single one from Internet, or Cd, or record of anybody.
Each sequencer has its own way to work, because all the synths have great differences on concepts, ways of manipulation, tools of recording, etc...
each pattern has its own personality, when I play pattern 18-7 of the XL 7, at the same time with the 18-7 of the MP 7, and the 18 of the EX-5 and the 18 of the Electribe, they will interchange info, they will talk with each other, will send commands and orders thru all the MIDI net, ordering tto the other synths, to position on determined sound, on determined knob position.
Everything is available to manipulate on the act,I have practice a lot to manipulate the BPM in a manual way, so they will keep the beat right.
I have a history on mi mind, before each 2-3 hours of presentation. I just need where is everything, and then, I can play a song with sense, with a soul, with Gestalt properties.
There are properties on songs that are only perceived when you listen them from the beggining to the end. that misterious information appears as a image, apart from the song, only when the song ENDS. That's the result of processing in your brain a serial of musical information on ANALOGIC and serial process. What you play on the third minute, will have consequences on the minute 5, the second song, will affect the way you enjoy the song 9. This only happens when you hear a set from the first to the last song.
IMHO, making music on computers, is like, renting a movie and see 20 minutes of this movie each day. You can say, I saw the complete movie, but it will never, never compare with looking the movie from begginning to the end without pressing2 "Pause" on your DVD.
That's why I combine the rigid, systematic objetive procedure of STEP-REC, pre recorded tracks, orders, command, with the subjetive poetic process of interacting as fast as you can, with your soul on your fingers, with those rigid commands that rule on electronic music. One method put the order, other, the caos and aleatory laws. Like nature. Each cloud has a pattern, but also, an aleratory, chaotic and misterious ingredient, that makes them all different. Maybe that's the reason I've never repeated a song in my whole life, in exactly the same way.
Bcause how you can put your feelings on the music, if you're not actually playing it? Are you gonna stop the feeling, go to the bathroom to take a piss, and come again, and say... well, where the hell I was...??? O yeah!!! I was feeling this and that...
Is ironic, I've spend months composing a single tune, but my best melody, a song that has a 4 minutes crescendo pads solo, was composed in that: 4 minutes.
I couldn't change the feeling I feel when I play music in this way, even for all the money of the world. I'm not just another watcher, maybe I'm the person that is enjoying the most on the party. Is necessary to walk a long, long way to achieve this, but it worths every drop of blood in your veins, cause playing musical instruments on realtime, creating a melody on the moment, with a synth, a piano, aguitar, whatever will always be the best way to make music.
sorry for the long post...