TubularCorporation

You can set the timestretch algorithm on a per-clip basis. You can also use stretch markers to do more Ableton-style (although if we're going to be pedantic, Ableton lifted it from Sonic Foundry) complex warping. EDIT: there are tools in SWS for transient detection to help automate this if you want to, but I've never needed it so I can't really give any advice.

Lol.. I have a second system in the bedroom Nice reel to reel, I had one of those for years but ended up donating it to a charity shop during a move for various reasons, and then passed up another for $5 at a thrift shop, and now I regret both. I don't have a photo handy now but my stereo is a Technics SP-15 turntable, an early NAD amp (a long term temporary thing because my Scott 299c tube amp needs service and I don't have the money to have someone do it nor the skill to do it myself) and a pair of AR 2ax speakers. The entire lot plus a Technics SA700 reciever was $70 (everything but the turntable was free) plus an old pair of EPI speakers I'd paid about $60 for, and sounds fantastic, especially for older recordings that were mastered for that kind of setup.

Since I switched from Pro Tools (which I've never liked but had to use for work for a while) to Reaper I pretty much stopped using Wavelab because it's almost always more convenient to do everything in Reaper.

Is there a term for something that's like GAS but isn't tied to a specific piece of gear? Whatever you call it, I still want more kinds of reverb. I don't have any particular in mind, jut more of them. It's a good thing I don't make enough money to keep buying them. I wish I'd gotten a Behringer V-Verb Pro back when they were under $50 USD and easy to find.

As great as the D-50 sounds I'd definitely take a TG-33 over it any day. The TG-33 sounds so ARCANE.

I've got a D-50 in my living room that I'm going to be putting a new battery in for somebody this afternoon. It's really got me wishing I had a D-50, but not at today's prices. EDIT: the real tragedy is that the guy I'm working on it for has had it since the 90s but never programmed it and just plays the factory presets.

Get yourself the SWS extensions package, if only for the loudness analysis and better management of track and item colors (which are two of the most basic things it adds, but also by far the most used for me). http://sws-extension.org/ The Reaper Blog's Youtube channel is really useful. I'd say the top priorities would be learning your way around folders and the various routing matrices, then parameter modulation and the render matrix. I find the Paulie theme a lot nicer to use than the default theme. There are a bunch of variants now, I'm personally using Paulie CLR. That said, if you're new to Reaper it might make more sense to work with the default theme until you know it well. I didn't start using Paulie until I'd been on Reaper for a few years and decided I needed more efficient use of screen space. Also, I don't use it myself because my desktop never goes on line, but ReaPack seems like a really handy thing.

Yeah, but it still has just about my favorite synth-action keyboard of all time. For a master controller on the relatively cheap end you'd have to work pretty hard to find something better than an old Alesis QS 6.1 or 7.1 imo.

EDIT 2: I forgot that I actually had the "loudness maximization" on in Windows sound manager (it's useful if you're watching stuff on Youtube with just laptop speakers, which I was doing last night before bed) for the whole test and also the driver for the on board sound on my laptop ALWAYS applies EQ to the output that makes it sound better through the internal speakers - but it still applies it even if you use headphones, there's no way to defeat it - so my results were completely invalid. I'll do it again tonight or tomorrow with a proper audio interface and more time to spend. EDIT: I'll just leave these here, too: https://phys.org/news/2013-02-human-fourier-uncertainty-principle.html https://tapeop.com/blog/2012/04/11/problem-bing-and-why-neil-young-right-about-sound-/

I don't consider myself an audiophile (because it's kind of synonymous with "hearing with your wallet") but the difference between 320kbps mp3 and CD audio is night and day. Doesn't stop me fro listening to ow bitrate Youtube uploads on laptop speakers sometimes, though. Just because you can hear a difference doesn't mena you should get insane about it.

I was looking for something else and stumbled on this interesting looking free compressor: http://weldroid.net/album/curvoisier-vst

Vaporwave starter kit Not sure if I've already shared this. From a low-end, mid 90s royalty free clip art CD-Rom.

What the hell is going on with Casio CZ series keyboards on eBay right now? I went on there to see if I could find one of the old molded hard cases for mine and people ate asking $300-$600 for every CZ model, it's nuts. I felt like a bit of a sucker when I picked mine up in pretty much mint condition (there are some scuffs on the bottom) for $225 back near the end of 2016. They're not rare and they pretty much never break and they've been popular for a long time, so it's not like there's a dwindling supply suddenly. Someone was trying to sell a 1000 for $80 locally a couple years ago and couldn't even get that. Did something happen recently that made them trendy or something? Not that I'd let mine go, or particularly care how much it's worth (I don't even play out enough these days to worry about someone running off with it at a show) but I always find this stuff interesting.

I believe there's still a healthy market for a larger, more 'breathable' UI / layout... some people are tired of the tiny objects trend. Honestly, after watching a video of Cuckoo showcasing an unfinished OP-Z, it looks painfully small.. of course, that doesn't detract from the tremendous functionality of the thing, it just doesn't look very playable--it looks fiddly as f*ck. My personal dumb metric is "does it fit nicely in my backpack along with a laptop. To my eyes, the tr-8 has an absolutely comically huge footprint - 40x26cm compared to the tr-08's 30x13, that's like 2.6x difference. I haven't actually had a chance to play around on either, but the tr-08 size format seems super nice from what I have seen in the stores. Things like Volcas, the Pocket Operators are definitely too small though. I would probably have a different opinion if for the last 2 years I had not been fighting the gods of studio feng shui to fit my gear nicely on what's mostly a 90x50cm IKEA shelf. Of course there's materials savings in all aspects from manufacture to transport in there as well if you think from that perspective. I empathize completely on easing the load when playing live, but the TR-8 is such a fun machine to play at shows that I can’t imagine not using it. I’ve whittled down my live rig to two carrying cases with the TR-8, MnM, and a backpack with a 5 channel mixer and cables. Consciously making it possible bring everything in one easy trip. This kind of limits my options in live composition, but it forces me to be creative in exploring just two machines in depth. I stubbornly create obstacles to troubleshoot and problem solve to keep interest up like some kind of masochist tech nerd. I do the same thing for playing live, I have to be able to carry everything in one load. I can carry a small keyboard on my chest, a backpack on my back, and two hard cases.

Portability appeals to me but I'm a musician first and foremost, and small, cramped interfaces just don't work well for me. Making music should involve the whole body, not just the tips of the fingers. Also in terms of durability, these small form factor devices are essentially disposable, even the expensive ones. 1/8" board mounted jacks, tiny potentiometers and encoders (less contact area = quicker failure, all else being equal, and that's on top of the smaller parts being less mechanically robust in general), generally difficult or impossible to service, notoriously fragile mini- or micro-USB connectors (that are also the only source of power in the worst cases), DIN MIDI on 1/8" jacks if present at all. I love the sounds Eurorack setups can produce but every time I sit down with one the form factor kills it for me. I've traded away the handful of modules I built over the last few years. Even the Octatrack, as much as I love it, is a bit on the small side. If the knobs were about half an inch farther apart and about 50% bigger in diameter than they are, it would be MUCH more playable. But the portability is definitely nice, that I'll give them,

Yeah, I definitely appreciate larger layouts, especially on drum machines.

That thing looks pretty great, although it's up in the price range where it has some stiff competition. For less than $30 more than the price that link quotes, you could get a digitakt, for example. But yeah, that's the first post-Aira Roland machine I've seen so far that has caught my attention, if I was looking for a drum machine I'd definitely check it out.

oh yeah that guy is a good friend of mine, love his stuff. Actually on a similar note to the Digitone, he developed an interface for the Sega Megadrive a few years ago that allowed the sound chip to be controlled by MIDI, he got a mention in Cuckoo's Digitone NAMM video :D Great guy, very open with his DIY stuff, he posts schematics and code for almost everything on his site. also thanks! I've heard really good things about that Megadrive interface.

I bet that works great with a 4op synth. I tried using a ZeroSL MKI with my TX802 and usually ended up programming it from the front panel most of the time anyhow, it took 7 pages worth of parameters, some of them with more than one function per control, to actually program a 6op FM synth and it ended up being more confusing keeping track of what was what among all of the unlabeled knobs than it was to just use the keypad.

That's the first thing I've heard from a PreenFM2 that makes me think maybe I should build one even though I have an underutilized TX802 already.

Oh, I haven't recorded it yet but you can get an interesting, shitty sort of sound on sound delay loop by logging on to a video streaming service in one browser tab while watching your own stream in the other browser tab and playing your dry signal in a media player of some kind, with the stream's audio source set to the main outs of your computer. No control to speak of and the delay time is determined by network traffic and geolocation, but I've heard it happen a bunch of times when people have messed up trying to stream games or shitty movies and it has potential as an experimental thing. I bet a few people on Skype could get something really strange happening with judicious use of feedback and muting.

That shitty Audio Centron knockoff Microverb I was talking about earlier in the thread has turned out to be really good for completely mangling an input signal, some of the normal reverbs sound really weird at full wet and the reverse and random algorithms are... different from other equivalent reverbs I've messed with. I have to boot up my desktop first (working from home today) but some time before lunch I'll post before and after clips of what happened to a CZ-101 sequence when I ran it through the Alesis Philtre into the reverb. It sounds kind of amazing and both of them dogether cost about the same as a Boss DS-1 or something. Definitely a lot more useful than a DS-1. I can't find any other effects sold under that brand name, just crossovers and PA speakers and stuff.

Almost definitely the richest person in the state and probably one of the richest in this part of the country (I've been told about $200,000,000 no horseshit) came in where I work the other day and he was completely chill and unpretentious and friendly even though he'd walked there in the rain for something we weren't able to do for him. It made it a little harder to maintain my knee-jerk classism for the rest of the day. EDIT: only a little harder.

I got an MT-32 (version 1, the slanted face kind like i the preview image) for $15 a few years ago when I was visiting the old record shop where I used to work (well, technically it was $20 for that and a Radio Shack Electronic Reverb that I recently fried by using an adapter with the wrong polarity, but might be able to fix) and it's one of my all time favorites. On the synth engine side it doesn't do anything youcan't achieve much easier with a D-110 but there's something about the shitty converters, shitty reverb and the specific drum sample set that make me lik it more than almost any other digital synth I've used. It sounds cheap in all the right ways, and I really wish it had battery backed up user memory because I'd use it constantly if it didn't revert back to the presets any time you turned it off. Still easily my favorite drum module I've ever used.