might be some good info for ya here
still better than garageband 2 lol, that was 2 inserts per track.
plus 2 instances of TAL elektro slowed my mac mini down to a crawl.
those were the times
I’m trying to wrap my head around this setup. Part of it looks cool and useful but the other part looks unfunky but I do see all of those expressions pedals. Def another way of working.
def a strange set up
pedals for each of the midi pianos, sustain and corda for the main keyboard in the middle. But what are all those dongles out of the midi keys?
not sure on the various DAW controllers around, I personally hate using those type of pad machines vertically. But maybe works for them.
no monitors as well, def kind of odd
taking a closer look, I feel like this is the workstation of some sort of twitch streamer/youtube person.
There looks to be a VR set-up to the left.
sample time: the inteior vehicle sounds, been using the machine gun as a kick drum on this project i’ve been working on lately as well as lot of the other blown out sounds
the video is grim af in a lot of ways and i dont mean to make light of things included, using resampling as a way to project this into something I care about. anti violence > > >
the sound quality on this is just nightmarish sounding to me
thinking about starting a free net label specialising in non 4/4 shit.
i’m nearly 30 now, been making beats for over half my life without ever taking it seriously.
my main goal with production was always to just be original.
but putting the odd joint on soundcloud with no thought to coherency or context is kinda pointless really isn’t it?
the whole social media driven commercial music thing is just a bit lame.
likes, follows, hits, press, hype, sales - everything relies on this validation so heavily. i miss those days of stumbling across random websites, each one unique and probably badly designed, just to find some weird new shit.
Lovelove records was a good one for that.
Having gotten fully used to logic its now so damn obvious that a huge % of what makes a mix good is simply funneling your tracks into buses so they can be compressed with each other and everything in the mix doesn’t bleed and poke out all over the place, so to speak.
When you just balance 4-5 buses instead of a 25-track project at the same time its so much easier. Also by putting things together on a bus you can easily fudge over a lot of transient issues and problems with snares clashing with hats etc, without really doing any work.
Is there anything like a peak-tracker that analyses the top 40% of peaks of a particular sound and familiarises itself with timbre so that any time the tracker hears that sound it’s got a close to idea where peaks will be as a sound is played on a scale. A sort of a ai-learnt glue compressor for particular sounds.
so tru haha
Ive figured this out now lol
you gotta hold alt, then click on the region you wanna move/copy, move it to where you want it, then CLICK AGAIN to put it there, then release alt
I wouldn’t think so, but a lot of comps and limiters have look ahead.
With any old compressor you can just copy the track to another bus, move it back about 30ms,
compress the original and use the delayed copy as the side chain input.
I only use look ahead on limiters in mastering.
Ahhright and adjust the pulled back track till it’s sounds dead on.