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RFJ

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About RFJ

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    United States

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    Male
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    United States
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    My wife and kids. Electronic Music, talking about electronic music, and making electronic music.
  1. Here's a question... What does a normal run of the mill home stereo tail off at? And if one was looking to make mixes that translate to what normal people listen on why would they want monitoring that pumps way lower than that. I ask because my mixes translate reasonably okay but whenever I have a sine bass that pitches down I lose the tail on most "normal stereos." i Just like it (bass head) they translate fine, most systems dont do that low :] home stereos (and some monitors) can be tailing off at 50hz. an 808 is an 80hz pitch drop Thanks. I was asking you the question but didn't mean you specifically. More of the royal you, so to speak. I guess my quandary is if a normal system doesn't push below say 50hz why do amateur artists like myself use monitoring that goes below that. Seems it is, in a way, self defeating. Meaning, if the m50's I use dropped off at a higher range I'd hear the drop off too, in the composition phase, long before it gets to someone's home stereo who is listening to a track I made that now doesn't sound "right" because I composed it for / on something a bit more high end.
  2. Here's a question... What does a normal run of the mill home stereo tail off at? And if one was looking to make mixes that translate to what normal people listen on why would they want monitoring that pumps way lower than that. I ask because my mixes translate reasonably okay but whenever I have a sine bass that pitches down I lose the tail on most "normal stereos."
  3. RFJ

    Bazille

    Hey thanks for that tip there on that eq. Not to derail the thread here but I do just want to acknowledge your reply. I have decided I really don't need another EQ. EQ8 suits my needs for the time being just fine. Think I'll go with Sarurn. If there's one area where live suffers I'd say it's more in the distortion / saturation dept. vs eq or compression. Even though I'm 35 years old I am taking a few classes and FabFilter approved me an EDU account for a year. 87 bucks for Saturn seems a steal and if I decide later on I'm in need of an EQ I'll still have solid prices for the next 365.
  4. RFJ

    Bazille

    Yeah I was thinking of scoring this for the introductory price of 80 something bucks but after watching several demos I don't think it's for me. I'm a atmosphere and pad guy, as such, I think my money would be better spent elsewhere. Funny thing is, I probably don't even need another plugin. Pro Q 2 keeps calling my name though... But I already have eq8... Fuck me.
  5. As far as issues with Ableton goes I've never had any problems. Used to run an ms-2000r and several other lower grade pieces of gear along with it. Pretty much any DAW will sort you, what it really comes down to is how you want to work. I'd suggest watching some YouTube vids of the suggested applications. When you find one that looks interesting to you, grab the demo. If after trying it for a period of time, and you find it doesn't suit you, move on to another one and repeat until you find a home. If you're willing to spend up to $500 on an audio interface I'd look at something from MOTU. Not sure how much I/O you'll need to support all those roland boxes you grabbed but they should have something to sort you. I'd start looking at the Ultralight MKIII and work your way up from there. Before going all software I was running a MOTU 828MKII that I nabbed off eBay. Don't be afraid to buy this stuff used either. Because even disregarding eBays very buyer friendly dispute program usually it's guys like us selling this stuff and we tend to care for our toys. And yes, the midi and audio interface, usually, is handled in one box.
  6. Honestly that whole "I don't want to be staring at a monitor" line of thinking, to me, is a very narrow minded approach. What does it matter really if you're using a computer as your master recorder/ sequencer? You could still use the hardware for composition. Were you to buy a hardware sequencer and / or recorder you'd be sacrificing a mass amount of functionality / versatility; and for what? The ability to be able to say you don't use a computer? Anyway, thats just my two, and many will disagree. But I've been down both the hardware and software road(s) and these days I see the hybrid setup as the optimal way to go.
  7. How much you're looking to spend would help. But if you're eyeing an 808, must mean you're willing to spend some cash. Based on the cash requirement being met I'd recommend, as did someone else, the Elektron Machinedrum. I'd go that way over a sampler because it's instantly useable straight out of the box and very user friendly. However being as you don't even know if you're going to like the thing I'm also inclined to recommend a cheaper option like something from Korg just to get your feet wet. Good thing though about that Elektron Box is it holds it's value really well. So, if you hate it, just toss it on eBay and you won't lose much at all.
  8. I think a following with staying power who is willing to participate in what you do in order to help you grow is much more valuable and important than 1,000 people who will click the like button or click through the first track on a bandcamp page. Best way to get that is to get involved with a group of like minded individuals. Take interest in what they do, participate in their stuff, and when the time comes, bring forth your idea to them. By that time, provided you have something unique to offer, the community will be all too willing to participate and advocate for what you are doing. It takes a while getting this process done, but if done right, the benefits will be reaped 10 fold. For this to have maximum effect it mustn't be driven by making a buck or market share. You have to be willing to keep at it even if a mass number isn't produced over night or through the course of a year. Be sure you keep the listeners you get and the best way to do that is take interest in their project and genuinely appreciate theirs in yours when it comes. The natural way is always best and there's nothing organic about spam.
  9. Elektron is getting fairly close with their analog rhythm I think. For me it'd be a four part polyphonic synth, analog / digi doesn't matter, a sampler for resampling capibilities primarily, and a drum synth / sequencer. Shouldn't be that hard actually. Two osc subtractive synth there with the synthesis engine. The hard thing would be having to have something to make drum micro edit type stuff but I guess that would be made possible via the sampler. So, sampling capibilities would need to be robust, and I'd need a screen probably. Given that all that would cost a pretty penny might as well stop wishing and just get three pieces from the Elektron range.
  10. Venom is cool and all for what it is but, let's face it, it's just a glorified midi controller. Also, being as it only has, what like 4 knobs, it doesn't really fit the criteria of "knobby" at all in my opinion. I'd think the only thing the Ion has going over the Nord is probably efx being as the Nord doesn't have any. Both have 4 analog outs and both have 4 part multitimbral capibilities. The efx I don't really see as an issue because I know he could handle that with other outboard he has and various efx within his DAW.
  11. The Ion, in my opinion, takes up way too much real estate. Also if what he really wants is a Nord Rack 2x he should just save up and get it. I mean bottom dollar for an Ion on eBay is about 375.00. And that's BOTTOM DOLLAR and isn't going to be readily available at that price. Average for a NR2x is about 550. Take $550.00 minus $375.00 and what you're left with is a number small enough to justify not looking for anything else and saving the few duckets it is to get what you really want. Might as well save and get what you really want as opposed to buying something that might make you wish you had saved when you had the chance.
  12. First post here guys... This is something I've been struggling with in my own work as of late as well. I dream of having intricately composed ambient glitch type music. I see people all across the Internet in various places posting 5+ min tracks. But, as with the OP, recently I've been getting a solid 2.5 to 3 min and calling it. I mean I could pull a copy / paste or duplicate job on what I've done and add some more efx / modulation / counter melody / what-have-you but the feeling of "this piece says what it needs to" usually wins out. I guess what I'm saying is that's what you should ask yourself. Does this piece say what it needs to? Is the feeling I'm trying to get across to the listener accurately communicated? If the answers to those questions are yes then I'd say just call it done. I mean no need to loop it again just to add a few more fancy tricks right?
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