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b born droid

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About b born droid

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    the swan and paedo
  • Birthday 02/14/1984

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    Germany

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  1. I would have agreed if I could do binaural recordings, have comping, offline processing, slicing to transients (ableton does that in Simpler but not with an audio sample on its own), proper 3rd party sidechaining without crazy workarounds, functional 4k scaling, assign my own key shortcuts, batch rendering, a functional video engine etc. etc. etc. . I still intend to use ableton but only for live performance and certain bits from m4l. I've already reassigned most key commands in reaper to resemble my workflow in ableton, so when I'm finished with my backlog of projects in ableton, migrating in terms of workflow should be smoother. Yeah I can back this up. There are some basic functionalities in Ableton that are so shit and/or non existent at times. Have they even got a decent audio scrub yet? Drives me up the wall, not to mention their key shortcuts are so ill thought out.
  2. Yeah as said it kinda depends what part of the whole music making process you want to change/improve. I still compose it Ableton but as soon as it's roughly into the form I want then I'm straight into Pro Tools because I think Ableton is terrible for quick intricate editing. But I could never go full PT either because it also blows for composition. I've finally got to the point where I have worked out which DAW caters to each part of the process to suit my needs best and jump around accordingly. Exporting can be a pain but for me it no longer made sense to stay within suffering within one. Well, I mean there is a financial consideration but luckily I can ignore that.
  3. Problem is that you don't have a professionally treated room. A mix that sounds good in your room might not be translatable to other sound systems and rooms as good as you imagine. Even if you try to listen through different speakers, different headphones, in the car and at a friend's place, and always compare your mix to other music that has the tonal balance you are aiming for, you can never be quite certain if the sound is really where you want it to be. Mastering studios just have a much better sound system and room treatment than most private people have, Also when you hand your music over to a mastering engineer you are paying for a second pair of ears that have years of experience finding the right tonal balance. So if you really want to commercialize your music you should have it mastered professionally. At least that's what I imagine, have no experience with that at allI meant more that I think when I master I do some processing that technically probably should be on the mix master bus. I mix in the studio at my work so I can usually guarantee that it sounds good (well to me lol), but I think because I master it myself I still use the mastering phase to do a little bit of mixing which is totally wrong. Which is also why I think if I got anyone to master it externally it wouldn't end up sounding like I want it. But alternatively sometimes when I've tried to address it in the mix phase with the master bus, I've applied mastering stuff in the final mix which is also wrong. It's a tough balance so this is a good thread to read to be honest. Gesendet von meinem SM-A320FL mit Tapatalk
  4. Aside from Voxengo SPAN for some metering (usually setup for m/s - I love the fact I can see both the frequency responses from both the M and S overlayed on each other) I have nothing. But I have the feeling this means I'm doing way more in the actual mastering stage than is maybe normal. I reckon if I sent my stuff off for mastering it wouldn't come back to my liking.... well maybe not providing I gave good reference tracks.
  5. I've used the A&H Mix Wizard 14:4:2 on a daily basis for a couple of years and found it to be pretty durable and reliable. Can't really think of too many issues and the sound is relatively transparent. If you can get it for a decent price and it's in good nick then it should hold up for a long time. Gesendet von meinem SM-A320FL mit Tapatalk
  6. My Release Radar on Spotify is surprisingly decent. I'm also on the mailing lists for Boomkat & Phonica.
  7. Thanks for all the positive feedback :) after spending so long on something it's good to know I wasn't crazy on liking something! Would genuinely recommend the DFAM, it is my first Moog so I wouldn't really call myself a fan boy or anything but it really is a fantastic machine worth every penny.
  8. I've got a bit of GAS for the dfam - how are you getting on with it? I see it as more than a drum machine for sure, seems you can get some pretty good synth sounds out of it too. Does it just have the one output (as its one voice)? I fucking love it tbh, it quickly became the centre piece of my workflow. Some thoughts/drawbacks/plus points: It's insanely 'hands on', it's one knob per function and it really encourages you to start creating immediately. There's no menus to get lost in, there's no trying to wrap your head around it's save structure (hello elektron). It just makes the whole thing fun as fuck and very creative. Obviously the downside to this is if you want to save sounds / patterns to kinda have to take photos or something to be able to remake it again. Hooking this up with an external sequencer is a lot of fun. I generally have it running off the sync of a Beatstep Pro, and rhythmically you can get some great fucked up results. I run the gate output of the sequencer into the advance step of the DFAM. If you use a standard 16 step pattern, but with the gate only on the 1, 3, 5, 7 etc, then you'll match the 8 step DFAM sequencer timing wise. However if you start adding in extra gate signals - say on the 4th, 8th, 12th & 14th steps - then you suddenly find your DFAM 8 step pattern is 1 1/2 times through after 1 bar, and will take approx 4 bars to come back to the beginning. You might have the same 8 notes/drum hits repeating, but the rhythm won't stay the same as the starting point of the 8 steps is always changing. I find this is pretty cool with melodies, especially if you then decide to constantly adjust the bpm on the BSP. It only has the one output. I have become quite proficient at multitracking with this. It's a little annoying because you kinda have to be good at imagining extra layers as you create, but tbh that kinda suits my workflow so it doesn't bother me as much, but if I had the cash I'd probably be tempted to buy another and see what they are like when running together, especially with the semi-modular elements. It's fantastically versatile, both in terms of drum elements, but also when you start going after synth sounds. Tuning can be a bit of a cunt if you want to layer things up due to the Oscillators and pitch controls being so free. If I'm doing proper melodies then I tend to send pitch info from the BSP. For drums it's not soo bad. I've just finished an EP actually that I would say is about 95% DFAM. There's extra external processing on them in form of filter/grain delay/reverb, but the vast majority of the source sounds are DFAM and I just would multitrack bits, jam over the top, then tweak some arrangement bits later in Pro Tools. https://open.spotify.com/track/4Ru7uWmME99dWQQKPK9YYp?si=FLjxH9NlQ8S345EnrE6htw https://open.spotify.com/track/1bActaROZxez4LiFmYpZF9?si=2gizw-P6S2Wm87J9FLwc8w https://open.spotify.com/track/6rqlmoOO5E9OXuY0fRQrKi?si=T-FCK9YwTXSO9JWOYn2mFg
  9. I have heard more and more good things about the newest Electribe sampler but i haven't had a chance to mess with one. The Volca Sample is really fun, especially with an external sequencer like a beatstep pro. In what way? I own a BSP. I remember fucking with a Volca Sample years ago in store and having fun with it. Can't remember much about the sound quality though. There was something about the initial Volca range that sounded weak and thin to me.
  10. This Elektron Sampler thing has got me wondering. For those of us who don't have €700+ to spend (or indeed want to) on a sampler, what options are there if you're on a relative budget? It would be nice to have the option to fuck around with samples since I've finally ditched Ableton I'm tending to work increasing OTB.
  11. Sweet, I also use that Particle pedal he has. As for filters, I run almost everything through my Waldorf 2-Pole.
  12. the good thing about Distrokid is having up to 2 different names, so I've taken the opportunity to get an alias to put out all the more housey stuff I've had laying around not knowing what to do with. Here's the profile, will have a couple more releases up in the next few months: https://open.spotify.com/artist/3KDVrSy9RTOymrytpEpVXt?si=0jdyvtpVROiBS9_2rcHVuQ Really wish I'd got into this earlier, really helps bring to an end the EP's I've had but not really done much with.
  13. anagrams of words, usually based on synths/sfx I've used.
  14. I enjoyed borrowing one off a mate but there was something about the sound that was a bit thin, but that's a bit of a minor quibble given the price.
  15. Yeah we only use R128 for TV. Youtube/Spotify/Radio etc do not use it*. Radio, as far as I'm aware still uses 0dB peak; we deliver all radio adverts as -0.1dB peak mp3. Anything online we deliver as -13LUFS and only then are LUFS measured (well... as well as True Peak) and not short term LUFS. The Mastering Show podcast with Ian Shepherd was a great source of information regarding how to master with online streaming in mind. The general consensus was to ignore completely and if you go off anything it should be short term, not long term. Long Term LUFS can be incredibly misleading and does not lead to better mixing. You also have to bear in mind that different platform will adjust accordingly therefore unless you want to do a completely new master for each one (and not every platform even advertising their playback), it's a bit of a con trick. Unless you are mastering for a particular physical format like vinyl, a proper Full Scale CD master will be great for streaming playback. @Squee - Paranerd might know more, but it's my understanding that LUFS is the European Term, LKFS is the North American term. Both are however identical. *For starters with TV there are extra short term LUFS levels to adhere to that for music would make no sense.
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