I did end up ordering that Korg SQ-1 but it is on backorder. I’m giving up on that Beatstep Pro until like next year or something.
1 BigUp
Yea. I haven’t heard any word on the new Beatstep in some time…that being said…I heard a rumor on an electribe 2 facebook forum a few samplers have landed in the land down under…
How to quote?
Open the reply box, highlight that shit and select “quote.”
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By that time, Arturia will have abandoned the product line! 
By the way re quoting, you can just select directly text from someone’s post and you get a quote pop up.
Thanks Nin-G.
1 BigUp
Good question. A little counter intuitive.
1 BigUp
I think I’m getting the hang of it.
Probably. We’ll see.
You know that rattly bit on a snare. I think it’s called the reiffel.
I’m going to put that on a couple of other drums and turn them into snares.
But I’m also thinking I could use something else… like for example a choral neclace or something… any ideas ?
Just putting this out there but …‘Mic’ed up ring-mail armour’ ?
Vibrating man etc… does this float a boat in your mi’i’inds?
Here, it is called the “snare”. It is what makes a snare a snare.
Can I post? It’s been like 30 hours since my last post. We’ll see.
1 BigUp
Makes sense that does.
Can’t put a snare on snare though so I’m glad we uncleared that up.
I have a windchime too but it’s too tonal for this I think.
But I made another ‘drum’ for the track I’m working on atm btw.
I took this rainstick and placed it so it leaned against the mic and then hit a bucket containing water. Had a bit of this rattle as part of the release and it sounds nuts. I just need to figure out a way of getting a kick that is large enough to work as a contrast. To try to have that sn kick balance.
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How much balance do you like in k s relationship?
I ask, because this has been a lively topic of discussion with myself for the past week.
My understanding of the importance of this relationship has recently greatly increased.
One of me says that all things being equal, having a k and s PEAKING at the same level can produce a louder, puncher mix.
The other one says that a disparity between the two can create movement within the beat, it is what makes the beat oscillate. Pull and push between the beats. K is bigger, you fall into the snare then rise back up into the kick. S is bigger, you down on the kick and up on the snare. Really really different type of movement.
BTW I’m saying this in a more traditional beat structure, like k’s on 1 and 3, snares on 2 and 4 (not talking about 4x4 music, more breaks, hip hop).
The synthesis of this internal dialectic suggests that you can retain motion within the beat through matching peek amplitude, but altering the apparent loudness of one or the other of the k or the s.
But I’d like to hear your thoughts, as I’m sure it would inform my investigation.
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Yeah. I’m going to think about this and try to present it in English this time around.
But one thing that rings true for me as a constant reoccuring thought/ idea, is that a kicks weight is relative to the bass in the context of that song.
Whereas a snare doesn’t have a counterpart for weight.
So there might be more depending on the snares ‘physicality’ in a lot of situations!.
Then again there’s the artistic decision whether a snare is tonally reinforcing the song harmonically (basicly being a part of the melody)- or the opposite where the snare ‘breaks up the notes’ by being characteristically atonal and more just ‘felt’ (taking us out of the dream).
Hmm… taking us out of the dream? No no no. The kick and the snare is our mother rocking us, back and forth, back and forth. It is the security of the swaying, the repetition that lets our mind wander into the space of the track, to run and dodge with the melody, to vibrate with the harmony.
But re the kick and the bass… where is 
when you need him. Very wise.
An example of something that sounds bigger than it actually is.
Around 1.37 where it drops into the heaviest part. The kick seems HUUUGE but it’s actually just huge 
Notice that tiny reversed bit leading into the mainkick and how much it helps ‘paint’ that dynamic shape/mini pattern of k n s. Ofcourse there’s also the proper amount of silence placed after the kick inbetween, leading into the snare with a nice crunchy cymbal on top, but that revving ‘sensation’ is so central to the whole groove. Tricksters 
I have a hard time listening to this stuff. In the politest terms, it is so stupid! Not once it gets going, but all the metal scraping sounds. So silly. A type of boyishness that I can’t get into. I’m invested in boyish music, but from a different period of life.
BUT the point is well made, while the k and s are paramount (literally in the beat), it is everything AROUND the k and s that create movement. Ushering in a kick, sliding into a snare, halting after the snare. Good stuff.
There is so much to do in production. I do forget this stuff, little slides into beats and what not. Really feel like it is juggling, keeping all these things in mind when working on a track. I think I’m going to have to keep a list of things I should think about, a physical list. I can’t keep all the balls in the air at the same time.
Was also considering doing this for things that I enjoy doing. You know how sometimes you’re like there is nothing to do, or you open the fridge and it is full, but you’re like there is nothing to eat… but you go out and there is a menu, and you’re like, hells of yes, I want that.
I’m thinking of developing a menu for production. I want this for appetizer, I want this salad, this soup, this main course… etc. Might make things easy. I really do forget.
But also, a menu for good times. So when you can’t think of something, you just look at the list, oh shit, yes, let’s go out rock hunting, that is what I want to do.
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I’m with you all the way.
when it comes to kick snare balance it depends on the kick and snare I’m using…if I’m using a weight snare that has a lot of low-mid punch I usually mix it lower than the kick (usually). If I’m using a more 500hz ish snare I might mix it a tad louder. Get that beat oscillation either through difference in frequency or volume (or both!)
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I’ve got twelve tabs open for local mixer for sale.
My synth fund which has been in a gatorade jug is getting heavy with pennies, let alone a hundo my parents dropped when they was in town for my b day.
But I think the synth fund that was saving for a p08, might go to a mixer. The need is preeminent.
Anybody with knowledge of the Yamaha Mg mixers. Are they shit? Any flair if driven.
Wait, background.
I’d like, but am not tied to, a smaller mixer that I can use in the studio and performing live. Something to mix a bunch of stereo sources. With a couple of stereo auxes.
I’d like a full fledged studio/front of house mixer but a compact would be good too, for space, and for live performance.
Also of note, there has been 3 minutes of constant thunder outside. WTF… is this nuclear attack. Hurt to much to look! Reply if you’re seeing ashpots in the distance.
Uhm, what about the Mackie 1604 VLZ?
Or the Soundcraft EPM12?
I wish my old Fostex 16 track mixer wasn’t stolen… I can’t stand buying shit twice…
TBH, I still have my Mackie 1604 VLZ in my studio and it has been here since the late '90’s. This mixer was real game changer for me. I wanted to use a mixer as an instrument influenced by all of the Dub I was listening to and I was able to do that on this mixer. Before that, I was mixing on some Tapco 6 channel mixer where only 5 of the channels were working. Kind of wish I still had that, lol.
1 BigUp
The 1604 vlz is seminal, is it not?