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thawkins

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About thawkins

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    icelandic musician Lolur Momfat

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    France

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  • Website URL
    https://streak.club/u/thawkins

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  1. Damn, the bigger Neumanns look good. So good in fact that I keep thinking about "what if the KH120A but with no more worrying about bass", which is not good for GAS or mental health. Thanks to you guys advice in the studio pics thread I now put my stuff in an equilateral triangle and re-did the calibration thing... and my first impression's not so good. I feel I liked the wider stereo image even though that is probably psychoacoustic bullshit I just liked to believe in, and the rearranging also destroyed my carefully set up desk feng shui. I think the main reason I might still not be 100% decided to keep the KH120 is that I find a lot of my favorite stuff not so well sounding, especially in the low end department. I guess it's fair to say that maybe some of that material is not particularly well mixed/mastered either though.. Because I do notice that when listening to more mainstream label stuff, it does sound way better and more in place. Let's see how it feels next week... I probably did a lot of my listening this week in feeling tired and aggravated at various things so that may color my impression of the speakers. ๐Ÿ™‚
  2. Thanks for remembering & linking. Based on the description seems that it's the other way round - some way to trigger audio loops through MIDI. That's not quite the thing I was looking for, but it might get me halfway there... sort of. I think in Live terms, what I need is a plugin that you can drop into the Drum Rack that plays just MIDI loops. Like when he demos it in the video, ideally instead of Simpler, there's another live session view in there that loops a clip or does a one shot. Come to think of it, does Renoise allow this kind of stuff? Can you trigger loops on other tracks from one track/instrument?
  3. Some half finished piano loops... https://streak.club/p/36096/fri-18-oct-by-thawkins
  4. That might be possible, although for now I feel the editing is insane menu diving. And I usually use the thing in the performance mode, where (I think) it's not really possible edit individual parts/patches in depth. Also I think the main rotary selector knob got dinged in transit when moving back to Europe. ๐Ÿ˜ž I want to figure out a good rack enclosure thing for my desk so I can have the XV-5080 and MS2000R set up in a more accessible and hands-on way. I had some time yesterday to move my speakers in a better position but that absolutely destroys how I had the other stuff set up on the table. Time to start up the DIY I guess.
  5. I am still exploring it, but it's got a lot of amazing sounds and capabilities. I mostly care about presets, especially real instrument modeling like organs, rhodes, vibes, etc. I think it's a good piece of kit.. sometime in the future maybe I will bother getting some librarian/sound editor to go with it.
  6. That's a KORG MicroX. I have it on a IKEA tablet stand because I mostly use it as an external sound module. I like that it's basically like a MicroKORG but way more powerful (no vocoder though). Yeah I guess you have a point. The picture is may be a bit deceptive though - that table is around 1m in depth and the listening spot is at around 140cm from each monitor.
  7. Ok so the ideal positioning is the 22.5 or 30 degrees like in the manual? I swear I read the positioning page for 4-5 times and there is no mention about whether it is a good idea to aim for any positioning or not. You might have a point though - I do feel that sometimes the stereo image is kind of wiiiide.
  8. OK, let me drop a small teaser life hack until I get around writing the next episode. The life hack is (loudness warriors hate this) - when testing out your mighty pro audio rig after you have just spent half an hour carefully doing the measurements for your 21st century clever room correction software... do fucking remember to turn off the automatic gain correction crap in your free DJing software so that you don't spend the next day wondering why some tracks sound really quiet and weird.
  9. I spent some very frustrating hours this weekend dealing with the cable hell. I hope these monitors work out well because the rest of the setup is pretty neat, and in history we all know neat setups are great for making music and you never ever end up just listening to crap on youtube and procrastinating. Nope, never.
  10. You can satisfy the first criteria by getting rid of some pieces of gear. ๐Ÿ™‚ No need to bother yourself, I'll see myself out...
  11. I get your point about flattering and giving a good accurate representation. I think currently I am a bit unsure about whether I am happy how the music I like sounds on them. It's because I feel a large part of my thing depends on me listening to a lot of music on the same system that I use to produce, so I feel it's kind of important to like the sound for everyday listening, even though it may not be analytically good or revealing. Not sure if I had this with the Dynaudios either though. On the other hand I did some test listening with the ARC system yesterday, and I think it sounds ok. As you said it's a 2-3 month process to get used to things so it's probably too early to tell...
  12. It's not inevitable, you can always get hooked on more frugal options like live coding.. or opiates.
  13. One more thing I remembered is that I absolutely believe that your brain can compensate for the latency really well, up to a point of course. It takes a bit of practice but you could play the same thing on a keyboard, when the sound comes 20ms or 60ms later. It's always nice to have a lower latency though.. This of course does not work absolutely in a live band situation where you need to react to people doing stuff.
  14. I remember reading stuff about that a long time ago and my conclusion is basically that you start noticing at around 20ms. For example, if you are playing a keyboard and the sound comes out of the speakers more than 20ms later, then you are in the "this is affecting me" territory. On the other hand, I also read that people can generally detect phase issues and tempo mismatch (i.e. if you got hihat-bass drumm out of sync) at around 4ms. Personally I have played around with the latency setting in Ableton Live to see what happens if I go really high. The numbers there are in samples so you have to calculate how many millisecond is your 64 samples at 48 kHz.
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