TubularCorporation

Everything in that photo excluding the router, modem, curtains and food products (but including the 18th century child's chair and the plants) came from other people's trash. EDIT: also the wine was free from work.

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I learned a lot about copying and deleting clips in Pro Tools from that

Not sure wha Whatz the total cost? t I'll get for a case, but it's usually between $300 and $500 depending on parts and mods. I got the PCBgrinder parts kit with detented pots because I don't think I could save enough sourcing my own parts to make it worth the trouble. I don't think I'll be adding transformer balancing or anything so it'll be on the lower end of the price range. The full case kit is pretty expensive but if you source the case, off-board parts and power transformer yourself it's a lot less, and I'm going to use balanced TRS connectors instead of XLR so that will save a bit more. The thing I haven't figured out yet is if I want to get a panel made (which would be nice because actual screened or laser etched control markings would make it easier to repeat settings) or just get an off the shelf rack enclosure and drill my own, which could get it down below $300 total, and that's still assuming I buy a PCB for the sidechain mod rather than just doing it on stripboard. Keeping it really minimal and not having to ship overseas I bet you could build it for $250. Been eyeing these things for a few years.

Just ordered all the parts (excluding enclosure) to build a Gyraf G/SSL compressor. Even if I go for an entirely prebuilt enclosure instead of drilling my own panels, and get the parts for a couple of the requisite mods, it's still going to be a super nice compressor for well under than the cost of two RNC's. Looks like a fairly easy build, too.

Their Dimension C clone pedal is great.

Another cheap Behringer Tweakalizer showed up in my bay alerts today and I didn't seriously consider it but I won't deny that the part of me that loves any piece of gear that didn't catch on yearned for it a bit.

So GAS free I passed on a $50 TX81z and multiple short-run kits and things that I was planning to pick up when I had the money but don't feel any need to get now that it's pay time for this season's editing work and I actually have the money. Feels good. I might end up having to get one of those cheap, fretless, electric bass ukuleles from Rondo because I'm probably going to be doing a production project for someone this winter that will require me to do a lot of overdubs but I sold my bass years ago and don't want to put the money or space in to getting another one. A bass uke with some EQ an compression through my old Ampeg should get me close enough of that Vox archtop, short scale bass tone that I like (and I've played and even owned enough Rondo stuff that I'm more than confident it will be good enough) but if this project doesn't pan out I'm not going to get one, it's a matter of need rather than GAS.

Nice, looking forward to hearing it. The duo I've got going over the last couple months is going to start playing out in January, doing some live, improvised soundtracks to Kenneth Anger movies to start out with. I'm still playing the minimal setup of Otatrack, CZ101, Anushri and now Tanzmaus, and he has set up a second, smaller Eurorack case specifically for live work. Still needs some practice but it's starting to come together pretty well.

Depends on what you mean. If you mean parameter locking what effect is assigned to that track (so, say, a reverb in slot 2 on one step but a chorus on the next step) then no, but you can plock the effect depth for every effect where a depth makes sense, and plock the parameters like gain or cuttoff to their neutral values for the effects that don't have wet/dry. Incidentally, even though send effects aren't an official feature on the Octatrack, it's still possible to configure a track to work as a send effect through some trickery involving sampling from the cue in studio mode. https://www.elektronauts.com/t/octatrack-master-track-8-send-effects/47552/13

Apples and oranges really. LGPT seems really cool but I always found the interface was the weak point of LSDJ. Not that it was bad, it's really good, more just that a tracker without a QWERTY keyboard always feels like it's missing the most important aspect of the whole tracker workflow. Same reason I don't really like Sunvox on portable devices even though I think Sunvox is an amazing program - being able to enter note and parameter values really fast from the keyboard is kind of what makes a tracker a tracker. I guess deep down maybe I'm more of a Nanoloop type of person.

Provisionally trading an old Synthrotek Eko module built and tested but never use because I didn't end up going Eurorack for my neighbor's Korg SQ-1. Hopefully he'll like the Eko enough to do the trade, because the SQ-1 is one of those things that would be really fun to have but I don't need enough to buy.

Lol all good, it's often my jam too. I just feel like people really exaggerate the need for stereo. Working with mono signals is just fine and dandy and even ideal 95% of the time. Most of the samples I have in the OT right now are center-panned stereo (the dumbest format) because I spent a bunch of time sampling a bunch of short sounds from my other hardware into a DAW and then forgot to set it to render mono files. So almost everything was sampled mono and then rendered stereo. I think that's pretty common and the same goes for me! Embracing mono opens up some cool tricks within the stereo paradigm. Like treating stereo as a mono pair for parallel processing. Or speaking of the OT, using the spatial processor to crossfade between 2 samples with modulation. I really need to take the two minutes necessary to definitively figure out if the OT converts mono samples to stereo when it loads them into RAM, because if it doesn't then I could free up some space by converting all that stuff to mono files. I'm pretty sure it does, though, and I've only filled up about 3 gigs of a 64 gig CF card so far, so if it doesn't save RAM I'm not concerned.

Lol all good, it's often my jam too. I just feel like people really exaggerate the need for stereo. Working with mono signals is just fine and dandy and even ideal 95% of the time. Most of the samples I have in the OT right now are center-panned stereo (the dumbest format) because I spent a bunch of time sampling a bunch of short sounds from my other hardware into a DAW and then forgot to set it to render mono files. So almost everything was sampled mono and then rendered stereo.

Yup, I figured someone would bring that up. To each their own. My 3 cents: - It's supposed to be basically a one-shot drum sampler. So its design (memory limitations, etc.) are geared toward that, and field recording to me is going against the grain there a bit. - The OT is still available for a bit more cash and can even stream multiple hours-long field recordings from flash storage at a time which is kinda ridiculous... and isn't the MKi pretty cheap by now? - If you want field recordings that bad, you can use tricks to overcome the DT's limitations, such as splitting stereo into mono L and R, using a track for each, and hard-panning them, or just resampling at double speed and playing back at half speed. Totally agree, I haven't used one myself so I don't really know but the Digitakt seems like it's squarely in the "really good sampling drum machine" zone. I wouldn't want to use field recordings much if at all in the DT, I was more responding to the general "mono is better for mixing" statement (which is true except when it isn't, but in a sampling drum machine it usually is). It seems like a really nice instrument. EDIT: basically I was just being contrarian because contrarianism is my jam. EDIT 2: I just had a look and New-in-box MKI Octatracks are a little cheaper but not that much different than when I got mine just shy of a year ago. I paid $1199 USD with free shipping in mid December 2016 for one, and checking eBay the prices for an unopened one right now are between around $999 and $1099, and used is only slightly less. Definitely much, much cheaper than the MKII but not actually that much cheaper than the pre MKII prices. For anyone considering an OT I think getting a new MKI while you still can is definitely the best way to go, given the price difference, and I feel like if you can afford a Digitakt you can probably afford a MKI Octatrack if you wait for your next payheck, so it should really be a choice of which fits your needs more than price.

Stereo samples are important if you're using field recordings.

The modulation matrix in the upper left corner of this modular system:

That sounds pretty good. I used LSDJ off and on for a while.

The android latency sucks, and honestly unless you have a big tablet or something it's no fun working with it on touchscreen. Desktop version with a mouse and keyboard is way more fun, since you can really take advantage of the tracker sequencing that way. A tracker without a keyboard kind of defeats the purpose. I'm not familiar with LGPT, I've got to take a look at that. I definitely liked Buzz a lot back in the day, but I haven't messed with it much since the new versions started coming out. I'm mostly OOB these days so I don't really use trackers much at all anymore but I still really like them. I like that Sunvox supports GPIO so you could theoretically make a custom hardware interface for it, or use it to control, I don't know, solenoids or something. Not something you see much in free music software. Also it's really stable.

You should try Sunvox, it's free for most platforms (and I really do mean most, it runs on almost anything) and really good. Seriously though, almost everything:

Damn it, just when I think the GAS is gone I find this: https://iestyn-lewis.github.io/czpl/ Hardware patch librarian for CZ series synths, with 10,000 user memory locations.

Piano roll makes sense when you're working with audio and MIDI at the same time I suppose. I guess since most DAWs still have a MIDI event list/editor hidden away someplace you could edit in the event list ad use the piano roll for visual feedback.

Totally agree if you're talking about what I think you're talking about. Although this can be an awkward way to work depending on the implementation (the MPC1000's "step editor" kind of sucks) Ooh yeah good call. I was just thinking about routing and stuff. I haven't used the phrases much myself. Yeah, I like MPC style editing wellenough (not sure about the 1000, sinc eI've only used one very briefly) but what I'm talking about is stuff like this:

yes to all of this, which is one thing that is holding me back from going for ableton.. having said that though I did buy Renoise Redux a while ago so could probably easily use that within Ableton alongside all of the cool max4live stuff I want to get into.. hmmmmmI always wondered if it would be fun to use Redux in Renoise... heh heh Oh, I never thought of it before but Redux in Usine!