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Everything posted by TubularCorporation

  1. I was alive in 1994 and I mostly listened to Bo Diddley and Frank Zappa. What was even popular in 1994? Chumbawamba or something? Did this really come out in 94? I thought it was late 80s although I didn't hear it until the late 90s. I haven't had the CD out in probably 20 years but I loved it as a teenager.
  2. More like "one of the most extreme forms of kruispolka."
  3. Anyway, the only real issue I have with gabber is that it isn't New Beat.
  4. I could have sworn they sampled this version but I checked and I was wrong. This is the best version, though.
  5. I've got a cart of River City Ransom out for early delivery today.
  6. That's a good price! The UI makes me remember that I missed out on getting a Korg DW8000 back when the prices were still really low.
  7. That's a sincere question, if someone actually found a practical application for blockchain that's great news.
  8. So how is it that storing data on the blockchain is so inefficient that even a few dozen kilobytes for a GIF of a stick figure with a dick is way too big to actually put on the blockchain so all your Logan Paul NFTs are actually just URLs, but this can use it for "unlimited free storage"? I need someone bigger brained than me to explain why this isn't the same as wetransfer but with a blockchain based frontend and a different storage limit structure.
  9. I finally got a second power conditioner (another new-old-stock Ametek Powervar ABC830-11, same as the first one, but any of their standard power conditioners should work just as well as long as it's specced for your setup) because the basement studio I have now has two circuits and I have to run gear on both of them. I didn't really expect it to help much with the ground loop problems I've been having at the new place, but I guess it really does its job well because it did more than help - it completely got rid of all the hum in my whole setup. Night and day, from a noise floor above -70dB when all of my gear is turned on (which I don't do when I record because it's too noisy, but usually do when I'm streaming or writing) to compleyely silent - I can't even get anything on the meters unless I boost the main output from my mixer up all the way to +20 (the highest the interface will go). That's too hot for most mic signals, much less line level, and even then it's pretty low. Lower than I used to get with a much simpler setup running on one circuit with everything powered from a typical Furman. Really can't recommend these things highly enough, especially considering what a "pro audio" power conditioner that's in a rack case and maybe has some metering but otherwise isn't any better would cost. The standard models all have a medical grade counterpart (with a "MED" suffix on the product number - so mine would be an ABC830-11MED in that case) that's even higher specced than standard, but I doubt it would be worth it (not that they're much more - the used price of a MED model is usually comparable to the new-old-stock price of a standard). Maybe if you used a bunch of vintage tube gear and tape machines or something. Everybody needs one! I've brought them up before and I'll bring them up again and it will still be true.
  10. Yeah, you can have a bunch of different scenes but honestly I use one really basic one 99% of the time and hardly even use the rotatry encoders, I could have dotten away with a simpler, cheaper fader box but nobody makes one that compact.
  11. Not exactly outsider, but this channel has a short album woth of half-decent, oldschool-academic style synth music: https://www.youtube.com/@corticallarvae1067/videos What makes it worth sharing is that I found it through a comment where they mention being in the reformed Process Church of the Final Judgement with totally-not-a-cult-leader Genesis P-Orrige in the 90s. So if you're interested in music that comes out of cults like I am, that's two in one! EDITE: it's possuible that they meant some other Genesis who had ties to the Process Church and underground electronic music, but that would be a bit of a coincidence (especially since Genesis P-Orridge is one of the interview subjects in the documentary the comment was posted on).
  12. Extremely niche, but here are a pair of no longer distributed java programs for decoding AND ENCODING all four of the competing 70s quadraphonic formats (SQ, QS, Stereo-4, Dynaquad), still available on Archive: https://web.archive.org/web/20190518193801/http://www.hotto.de:80/software/quadrophonicmatrixencoder.html https://web.archive.org/web/20190608172140/http://www.hotto.de:80/software/quadrophonicmatrixdecoder.html So if you're like me and like the idea of doing a quad release some day, this should do it. Modern 5.1 surround systems can actually still decode at least some of the quad formats (but you'd need to swap your speaker connections around since the quad channels don't actually decode to the same outputs as 5.1) so it's not actually as pointless as it sounds, and if I was going to put something out on vinyl I'd seriously consider it.
  13. I wanted an MX-12 but the price was too high. In retrospect, I'm actually glad I didn't get it because the UC-4 form factor is so nice. The only real issue is the same issue most fader controllers have, and that's no motorized faders (but that's obviously not a realiztic option on the UC-4 anyway).
  14. Got one of those about a year and a half ago for the Octatrack, it's fantastic.
  15. Another good thing to do from time to time is choose a type of music youdon't particulrly like (or at best don't care about) and produce in that style. Don't worry about actually making that kind of music, but as much as possible limit yourself to techniques that are associated with that type of music. It's fun, you learn new techniques, because you're doing something you "don't like" you're less likely to compare yourself toestablished artists, and if you're lucky it will help you ge tover the idea that there are genres of musicyou like or don't like, or that genres are even a useful concept outside of marketing (they aren't, unless maybe you're a musicologist or historian but even then "genre"isn;'t really a very meaningful construct). It's a doorway to a bigger world where there is no kind of music that's bad (except pop-punk).
  16. After you've spent a few years it's a lot harder to NOT have your own sound, really. I can listen to stuf I recorded when I was 13 and it's as recognizably my stuff as anything I do now, but maybe I'm just stunted. EDIT: for some actual practical advice, try keeping quantize turned off on everything by default, and only turn it on deliberately when you have a specific reason to quantize a specific part (maybe you need a very stable, metronomic kick drum so DJs don't get annoyed with you, for example). You personal sense of timing is a big part of why your music sounds like your music. Whenever you decide to quantize something, stop and ask yourself why and if it's really necessary.
  17. I don't actually WANT it but I definitely NEED a Behringer SNR-208 8 channel analog noise reduction. The trouble is even though they show up pretty regularly in the $80 range, it seems like they're always in Europe and cost more to ship to the USA than the actual asking price.
  18. Not the worst, but a couple from work this morning that gave me a laugh:
  19. Not exactly a plugina nd not exactly free, but the complete Samples From Mars library is marked down to $49 right now. I'm not usually a big sample library user (except for some old 80s and 90s Ensoniq and Akai disks occasionally), but for $49 $49 is worth it for the couple dozen vintage drum machine sets alone (I doubt I'll ever download anything else from it myself). Definitely an improvement over what I was using. https://samplesfrommars.com/collections/all-products-1/products/all-products-from-mars
  20. Sonny Bono's psychedelic album is a great one, too: If this was an unknown artist on a small label it would be one of those monster outsider psych albums people pay hundreds of dollars for, but it's Sonny Bono so they're pretty cheap when they show up (which isn't that often, I've worked at two record shops in two cities for about 9 years total and counting, and I've seen three of them.)
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