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Knob Twiddlers
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Brisbot last won the day on March 1 2020

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  1. I have been reading Tim Hecker interviews recently and it's impressive how much he goes into his process and I have a list of ideas to try out from them. I wish people were this open on how he makes music instead of keeping it close to your chest. Good technique and sound design is required to make good music, however the most important part is what you do with the sounds and that's where he excels . His music isn't good because he has hidden sound design secrets or whatever. He could teach someone everything he knows but they won't be able to emulate that kinda creativity. That is generalizing a bit but you get muh point. https://www.factmag.com/2016/03/31/tim-hecker-interview-love-streams/ I
  2. I like most of these covers. Only ones that are bad are ones you can't make out what it is ,ike that snake in the dark/blackness one
  3. I remember really liking Daft Punk as a teenager, but thinking Electronic music is fun but there is no way it can capture the emotional depth of acoustic instruments. But no turns out if you know what you're doing it can capture emotional intensity even better than acoustic instruments. I am generalizing but there is truth to that i think. First 2 songs I heard by Aphex Twin were 4 and Vordhosbn. when I heard those 2 I immediately decided I wanted to make electronic music and then I sold my guitar. It was as if the music I had been making up and hearing in my head since I was a kid was actualized and obtainable.
  4. I never understand why most of these youtuber music reactors will listen to a song for a minute, talk for a minute about, listen another minute, talk.. etc. It's your first listen so pausing it will degrade it's effect somewhat.
  5. Not with that attitude. Lol.
  6. THX for the replies peeps. I made a list of things to check out. Yeah I know there are plenty of vsts that will slice audio you give it. But I'm talking about being able to drag 20 audio clips, and then have them turned into one shots to be dumped in a new folder. That's what I am really asking for. I am looking to get a ton of one shots to be able to use in drum machines and such. Looks promising. At least I have a starting point. I know that kinda stuff is abundant. IDK if I wrote my original post well, but I would love to be able to throw like.. 20 breaks in, have it automatically. make one shots without me having to manually go in. Would save a lot of time even if there inevitable will be wonky sounding one shots litered thruout.
  7. So this is just my philosophy on this. But how you choose to approach a track greatly influences the end product. If I make it with mostly midi and parameter automation, then it's more likely going to come out as VERY melody driven. HOWEVER my prefered way of making music these days is instead to make lots of cool sound design. Find bits I like the most. Lump them together. And FOCUS on what composition types would allow me to BEST USE the sound design. The two types of ways of making music sound almost like another artist made them And this also applies to choosing to start a song with a chord progression, or a bassline, or the drums. They all feel like different styles when I listen to them. For example, a song that is built around vocals means the instruments are there to strengthen the vocals. There;s a reason why guitar solos are a thing in rock music. So the guitarist can do his ownthing without needing to support the vocalist. If you make a song with no vocals, suddenly that opens up a TON of things you can't really do with vocals. Now any instrument can be the 'focus' instrument where everything is built around. Same thing applies to music with drums, and without. It's much easier to make lush ambient music when you don't have to conform to drums, which in turn frees up the ambient music to do more things.
  8. Any software/plugin where you can give it say.... a folder of 3 minute drum playing, audio, and it will automatically determine where drums are and cut them to turn into One-Shots? Only way I really know how is just to input one thing at a time. But if there is a much faster way to do it, and have it export one-shots into a folder or something, that would be great.
  9. How can someone's opinion of approach to composition be wrong?
  10. I never said wrong, I said less accurate. BIG DIFFERENCE. And I didn't mean it negatively but i guess dry online text means everything seems like someone's super duper serious opinion. You can hear half of someone's discography and have a favorite, but the guy who has listened to everything and has a favorite probably has a more wholistic view yeah? That is what i mean by 'accurate'. It's not wrong to have a favorite while only listening to half of a discography. Never said that. I guess I can see why you read it that way, but it's not what I meant. More people listen to his older stuff than his newer stuff overall. When I run into another person who likes AFX... on the internet and IRL, not on WATMM. They will often love his 90s stuff, but listened to Syro and Collapse like twice and conclude he sucks now. Too much dad funk. OR they will have not listened to the new stuff at all. It doesn't apply to everyone. It's just a trend I have noticed.
  11. That is usually a sign that the person claiming it hasn't listened to the other stuff in the discography of the artist they are claiming it of. Because it is just so wrong about Aphex's music. You drop caring about the effect of the album on the wider music industry, and that album is to me... not even in the middle of the list of his best albums. Probably toward the back. He just made so much more interesting stuff after that it just doesn't seem like an accurate observation. For every track on that album he has since made ... 5-10 better tracks in that style when revisiting them.
  12. I think that loudness is because of Richard, not Warp. Well Warp may have been the one to go overboard on the mastering, but Richard I am pretty sure did want that loudness mastering in his record. I remember AFX saying in an interview that he was a lil nervous about releasing something to a wider public so long after, and he seemed to imply, but didn't say, that he wanted the master to have more loudness like the trend has been in general, and that before when he was releasing his 90s and early 00's stuff he said he never cared about all the post production after he finished mixing, as long as it still sounded fine. But since then he had changed his mind to some extent and that he felt it was EXPECTED of any release. IMO, I personally think that it was because it was focused on the synths more-so than the drums in Syro. Kinda like what PSN said, So drum transients took a back seat to making the synths as upfront and in your face as possible. By the time of Collapse, again imo, that record had way more emphasis on drums than the synths. So making sure the drums work was the primary concern. Leading to much more interesting drum and drum transients, with the synths sounding more like what we would expect from Aphex Twin. Imagine if Collapse had the same loudness mastering as Syro had. It just wouldn't work nearly as well and would have been the wrong direction.
  13. Thanks for the answers so far! The reason I am interested in these kinds of things is because a lot of the processing of these vsts is actually on 'their end' and not really your computer, as it can be done much faster on their end. So that opens up a lot of things you may not be able to do in your DAW. Especially when Ai is concerned.
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