yeh was doing similarly late last year but didnt get super far into it. its cool tho!
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It’s actually dope as hell, definitely gonna spend some more time with it. So many clever features, and and a super deep level of control over most things.
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#smeargang
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So should I EQ then or…?
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How to make teh wobs plz?
Although, it feels kind of weird that insider SNH jokes are made on the public facing production forum.
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Loool wat
I appreciate that parts of what I’m saying seems too abstract. You might need to consider these things in very pragmatic ways, but to me that is way too confined.
Ultimately to me, doing sound inside a device or computer or inside the digital realm, is always going to be like trying to create a sun out of a lamp. In that sense we’re not really anywhere yet.
The way ‘my’ position is reasonable, is that for technology to be anything, it has to constantly improve, to be able to afford or represent realism in the most ‘sophisticated’ way. We can imagine way more than we can do, like in science fiction.
You view sound from a perspective of what these tools can do.
And I view sounds as real life conditions that we have to trap and will always have to compromise if or when we use these tools.
The mix is an ideal. Sometimes you hear a mix that is more ‘realistic’ than you thought was possible.
At the same time a mix can be more realistic because the tools evolved or the person using the tools grew more accustomed to working with them.
But that does not necessarily turn my pov into wild druid or alchemist nonsense, it’s more just about how art can represent nature or sound, mimicry, aesthetic ideals that constantly expand.
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So, there’s also a discussion about what we are informed by, are we informed by steps already taken, things we’ve managed to realize and produce - in an empirical way, or are we informed about what step is the next step that has to be taken or might be possible. Constantly experimenting, moving.
Would you say that a recording from nature straight to tape, is closer to this ideal, @hubb ? Continuous flow of air pressure fluctuations through a microphone, translated to an electric current, saved by means of magnetism, instead of a series of discrete digital values?
I get your point, and I think both sides of the discussion is needed to further technology. This is the production thread though, and you’re going deep into the philosophy part of it.
Yeah, because I’m forced to. Its all interconnected, sound is not digital.
The daw is already digital too, the playback is hindered by whatever - I guess in my case 32 bit workflow.
No, not necessarily they all impart something on the sound - an ideal is not reached, its an ideal not a goal, but it will inform what you try to do.
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The pragmatic reasoning for not using EQ as a surgical mix tool but mostly as a creative thing you can use - only if and when it sounds good…
Is that if you avoid using digital EQ as a surgical tool/subtractive, it helps you develop alternative ways of fixing the same issues - you learn to consider sounds and how they fit in a mix, you learn to focus on the character of recordings, you end up (maybe, if you are lucky) going in a direction where you treat sound as if they have a natural counterpart, or treat them more like how sounds occur outside of systems that reproduce sounds - its a form of creative consideration and optic
which is absolutely not the same thing as saying NO EQ wah wah or NO COMPRESSION boohoo
the fear is this concept could lead to some middle class bruce lee be like water hippy bullshit zen ting, but it could be a form of creative consideration
You see people get into generative forms in techno, because it removes the human side - it means the thing is closer to technology or physics or whatever and that is super cool
but there’s also a maybe kinda ‘opposite’ version of that, that is like a romantic ambient nature buzz - some white boy ■■■■■■ shinto - that sounds rad
flowery water gay mixing
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why is jdilla doing that flowery water swing
all sounds need to be quantized immediately this is the digital realm
obey the digital realm
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Personally, I try to “get it right at the source” when it comes to recording sounds, but I usually don’t get too hung up by it either, if the workload/time spent involved in re-recording something is too large.
So, I guess I’m leaning heavily towards your mindset (in a way), and I appreciate people who try to do it this way. Creative consideration and intent.
Mic:ing up an electric guitar through an old radio in a parking garage, with an ancient microphone from the 50s or whatever, then use some super modern types of playing techniques and an E-bow. Moving the mic half a meter to the left, to include that concrete wall reverberation at the source.
Or absolutely anything you can think of.
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I do love these step by steps that producers do.
At this rate, I’m paying to release music!
Have anyone checked out the SOMA LABORATORY gear? Gheeze that stuff looks powerful.
My friend sold the Lyra8 again after a few months, very experimental cool gear, but hard to utilize in a “making a song” context. More for resampling and using the sounds. Unless you have a full hardware rig with more emergent/generative things.
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nu stock Ableton synth dropping in Live 11.3 update is looking pretty nice
basically what I would have wanted from the stock Analog synth if it was good
apologies for linking a soyface thumbnail youtube guy
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