TubularCorporation
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Posts posted by TubularCorporation
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You should really try Ninjam, if the way you play allows the gap system to work you don't have to deal with conventional latency at all. The only thing I've needed to do is shift my clock a little early to compensate for interface and plugin latency, otherwise my actual audio will be a ittle behind the Ninjam clock But that's not a network issue at all, it's latency compensation (except it's being manually applied live, instead of calcualted and aplied to a recording after the fact like normal DAW latency compensation).
200ms sounds horrible, my timing starts to suffer in the 6-12ms range, although even down around 4-5ms it's noticeable (but not really any different than playing a warehouse show where you're 20+ feet from the monitors half the time).
Even with a VDOninja peer to peer connection, I've never gotten latency below 150-200ms (usually it's more like 300ms) between the USA and France (which is the only thing I've tried) so 200ms seems like a pretty good number, I just can't imagine having to play around that. But on the other hand, I can't imagine trying to play certain types of music with Ninjam,either, so I guess it depends.
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I didn't own a computer yet so this must have been '97 or '98.
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Found a box of old photos, and there was a shot of one of my very first setups, back in the late 90s. This would have to be the second version, since I got that 424MKII after the MKI started having issues (ironically the MKII died in a few years, but the MKI fixed itself and I still own and use it to this day).
It's in my old middle school/high school bedroom so I remember the space, but I have no memory at all of setting it up this way or what my workflow was like.
That's the Korg Poly61m I always whine about selling for $80, in the lower right corner.
Also wish I still had that painting in the upper left. I quit art altogether in my early 20s and told my parents to get rid of all the stuff I stored in their basement, and unfortunately they actually did it.
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19 minutes ago, IOS said:On 11/11/2021 at 4:20 AM, WurstPLUS said:
IDK how it's called, it's a kind of oppossite compressor - it makes the more silent parts louder.
expander
That's still a compressor, it's just an upward compressor.
An expander is the opposite of a compressor, though.
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Yeah, at some point I'll mess with it and see if I can come up with anything that's worth sampling a couple seconds from, that seems like the kind of thing it could be useful for.
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36 minutes ago, auxien said:
what sort of speakers/etc are y'all using in general when listening via computer?
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I think when I first saw in in maybe 2009 I figured out that it might have been part of a failed web series about New England townies, but I can't find any hint of evindence about that now so I might be thinking of something else.
Either way it's one of the very best things on Youtube, and not having any context just makes it better.
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I don't think I posted this yet.
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23 minutes ago, cern said:
Everyone gets pissed off when they are sampled successfully without credits.
I swear nothing would happened if X-tal was another SC-Dump trackI think this is legit in both cases. I don't think people should be restricted from using samples in their work (unless it's a clear cut violation of consent or something) but I also think that if something DOES blow up it changes the balance of power and ethical imperative for transparency and compensation.
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I'm fully on RDJ's side, but do think that the proper thing to do here is to pay the back fees to license the orginal track even though the people who made it are acting like whiny pissbabies about it.
I also think IP law for media has to be radically overhauled so that shit like this isn't an issue anymore. Something that scales in a way where people can make sample based music mor eor less without legal restriction but the people whose music is sampled can also be compensated proportionately I don't think full sharing of songwriting credit is anything like proportional, but at the same time if Timbaland produces a massive hit that's literally just a multibar loop of your work with a few overdubs you should be getting a good healthy payout for that. I think you can make a good faith interpretation of the current laws that says they are pointing in that direction, but they don't work right and never really have. An implementation of something like Youtube's content ID system that was actually fair (actually redistributing revenue proportionately instead of diverting 100% of it to the company that owns the rights to the song you used a 10 secondclip from in a 2 hour video that clearly ffalls under fair use, for example) could do a lot, but I'm not super optimistic about it actually happening.
But as it is now I'm sympathetic to both parties to some degree, unless the original rights holders asked for/got MORE than the original licensing terms for their track dictated, in which case fuck em.
And while I'm at it, all that pre-war Disney IP needs to be public domain. Fuck Disney, a lot of this is on them. High budget, live action Mickey/Goofy/Pluto erotic thriller with A-list celebrity cast in Cats 2019-style CGI makeup in my lifetime, please.
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I mentioned Louie Louie because Dave Marsh's social history of Louie Louie that was published in the early 90s has a whole chater making a really strong case for Teen Spirit being the latest (at the time) high profile variant of Louie Louie.
It's one of the best music books I've read, definitely recommended.
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On 9/8/2022 at 3:08 PM, rek said:
good question, I'm usin' Linux with Yabridge to run win dlls. I've both used Anticipative Effects and not, in a trial and error process to get the best functionality. Just checked now and it's disabled, but it's running relatively well at the moment. been struggling for many moons to find a sweet spot, trying and untrying every combination of settings. The creator of Yabridge recommended to try disabling it. I spent time dong stress tests with DSP56300 , loading a bunch of instances with lots of voices running, and seeing how long it took to choke the audio output buffers, and got better performance from anticipative effects, but running win dll's on linux introduces its own kind of problems that caused a lot of lockups and crashes that have currently went away for me as a result of disabling the feature, in my particular case.
That has to be it. Your measurements are definitely more realistic in a host-agnostic sense, in that case.
For comparison, the computer I use won't even run Reaktor standalone but I can run reasonably complex patches in the context of a full mix with no trouble when I use the VST version in Reaper. Anticipative effects!
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I finally took the plunge, took everything out of my 12u rack case, got 4 things racked up with my audio interface and mixer, so everything is closer together and I had space to move my desk and monitors a couple feet farther from the wall. The rest of it is set so I can sell it and put the money toward a Hydrasynth module.
I got all the stuff I'm selling cheap enough I can lowball it a bit to hopefully make it sell faster and still end up getting back more than I originally spent.
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How many millions of dollars did Microsoft pay Brian Eno to make a 3 second audio logo that isn't any better than some of that stuff?
I'm a Bruton Music type, myself.
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46 minutes ago, rek said:
if the key or intervals aren't similar, i'm a bit tone deaf but it's what i honestly thought I heard.
There are three notes that are similar.
I mostly heard that they were fans of Rosemary's Baby.
43 minutes ago, cern said:Like wtf he compare a classic Beatles track to his accapella library thing?
TBF, I'd unironically rather listen to good, late 70s library music than half of the Beatles catalog.
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The Star Wars thme is less similar to Evil At Play than Smells Like Teen Spirit is to Louie Louie.
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UHF
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I should have built an LXR kit back when I was thinking about it before, because it looks like the price for it has almost doubled since the LXR02 came out.
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I'm really wanting a Wavedrum again, but fortunately I can't afford one AND they're unavailable indefinitely because of supply chain problems or something.
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I almost built an LXR a few times, they're definitely one of the more interesting DIY synths out there.
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1 hour ago, thawkins said:
What did you GAS hard over and it ended up a major disappointment? Koma Elektronik Field Kit & all the mics and assorted junk I got because I was so stoked about doing some musique concrete experiments and to build a DYI drum kit kind of.
If you still have it in a year or two when I should hopefully have a bit more income, I'll buy it from you.
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OK I'll cave to peer pressure.
What did you GAS a bit over and it ended up amazing? Linnstrument + DIY Kijimi. It took me about three years of setting aside money and sourcing parts, and about 150 hours of inhaling solder fumes, but the combo has completely changed the way I relate to synthesizers as a performance instrument (even if I still use keyboards more often). Runner up is the Mackie LM3204. We had a broken one in the basement at the apartment where I lived from 2010 to 2012 so I knew the feature set really well even though I never actually got to use one, and it always seemed like the perfect mixer for me. I finally got one last year and it's exactly what I hoped. If I could afford it I'd buy the expander to take it up to 32 stereo channels instead of 16. I'd still like to get an older Allen & Heath Mixwizard some day to upgrade from the Soundcraft EPM-8 as my performance/dub/feedback mixer, but for just getting a nice stereo mix of all my gear that I can set and foget, the 3204 is perfect.
What did you GAS hard over and it ended up a major disappointment? Reaktor. Got it during one of their big holiday sales about 4 years ago and I can count the number of times I've actually used it in a finished piece of music on one hand. In theory I love it, in practice I'm not a software guy and I end up spending hours experimenting and not ending up with anything worth keeping. Fun but more of a time sink than anything else. I need to commit early (c.f. the Mackie LM3204).
What do you regret selling? I had a Korg Poly61M that I've already moaned about in this thread more than once. Bought for $200, sold for $80. I would never buy one again but I really miss the sound.
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Max/MSP
in EKT General Discussion
Posted
I actually thought you did that all in Max, I didn't realize you used Puredata too.