thawkins
-
Posts
2,015 -
Joined
-
Last visited
Content Type
Profiles
Forums
Blogs
Downloads
Store
Posts posted by thawkins
-
-
2 hours ago, Nil said:
I've had the book collecting dust for too long now, and after skimming through it I believe I could use the knowledge to build the text-based sequencer I'd love to use (i.e using arrays of value rather than grids, and having distinct lists for pitch / gates / velocities) to "transplant" my Tidal MIDI workflow and sequencing into a M4L device.
This sounds suspiciously like starting to design your own programming language, which is OK to a point I guess.
I would look into somehow figuring out what you want out of this relationship between M4L and TidalCycles. For me I was happy if I could mess with Tidal in the editor (Atom, I think) and record the MIDI into Live for cutting and more involved editing.
-
1
-
-
Lo-fi chill beats to fall asleep to:
-
1
-
-
I got to say that the sound examples on that site sound so wild, I have to try out the Resonator effect too in Live sometime...
I wish I was good enough to make dub techno.
-
Totally spitballing here, but could Logic have something where it renders some audio to flatten-freeze or print stuff ?
Because 4GB is the maximum size for a WAV file (maibe AIFF too), and could it be that you have some routings that feed back into each other so if you do the freeze/render, the engine will just keep writing this audio into a file even though it should not.
I know for a fact that I once managed to crash Live by doing some very "clever" routing that fed into itself, caused a stack overflow and poof. That might have been MIDI, but the point is that I don't think DAWs are smart enough to know that there is a loop like this going on.
Can you listen to these huge files somehow to see what the hell is going on?
And like for all this kind of problems, it might help to back the project up, then start eliminating tracks or devices from it one by one and see at which point the file size drops back to normal.
-
Can your granular synth do this?
-
3 hours ago, rhmilo said:
You can "get slightly better at it" without deliberate practice, though, and still enjoy the process.
Does one "get slightly better" at fishing? At flower arranging? Probably, but it's not like you actively pursue improvement, I would hope.
I absolutely agree that you can and will get better by just doing the thing you enjoy!
My badly expressed point was that I don't believe a lot of people will put up too long with a hobby they do not enjoy if they aren't getting anything out of it (and the desire for instant gratification is quite strong!). I.e. if you already hate fishing and can't catch anything the first time you try it, you aren't going to go out and buy a boat and start a fishing youtube channel (Fishing With John does not count in this example).
So with music production stuff the rule seems to be that if you want instant gratification, then buying almost any piece of gear is going to disappoint you with a steep learning curve, and almost any initial result is going to sound like lukewarm vomit. I don't really know any way into it that does not involve at least some of that deliberate searching and learning process (even if it is just following youtube tutorials click for click, which is a really cool way to do it).
3 hours ago, Taupe Beats said:This goes on the assumption of a direct ratio of merit and talent to exposure and attention/opportunity.
It's rare someone actually has that ratio in their development and they are very lucky if so. So in turn, if someone wants to get to a "process of change", that could mean they just get better at what they like to do and their audience never increases. However, that wouldn't take it out of the realm of "hobby", it just makes them better at it.
The idea of a "pro" to me is more based in the amount of time spent on presenting/emphasizing the artist's output so there's more attention and exposure. Talent is typically part-and-parcel with the presentation, but not *always*.
I always feel like "pro" means "earns a living doing this". This is really combined with self-marketing and promotion definitely.
In this case I think you read too much into my post - I am just talking about a really generic process of getting better at doing the hobby thing you love. Whether you are fiscally or publicly successful does not really matter.
I guess in the end I have just had too many friends who are like "yeah we should jam out and make a band" then have it fizzle out when they don't have time or patience with some thing or other. This sort of thing gets me cynical a little.
-
1
-
-
10 minutes ago, rhmilo said:
True, but if it's just your hobby, why should you work, grow and be good at something?
(easy for me to say - I suck, but it took a while to come to terms with that)
If you intend to keep doing that hobby you will go through some sort of process or change, no? I can't imagine anyone enjoying a hobby where every time they do it, it is just like the first time. I mean there has to be some good part about the process too that you always enjoy, but there is also a 'getting slightly better at it' aspect.
-
46 minutes ago, sweepstakes said:
This can take years, though, and it can change along with your tastes and experience.
Yeah, but then if you just want to touch some faders while awesome music comes out of the speakers, then you actually want to be a DJ. And I don't mean this in a bad way - I have huge respect for DJs who know their stuff and can play a really engaging set by what is just hitting play a couple of dozen times.
It takes work and personal growth to be good at something no matter how you start though.
-
-
11 minutes ago, rhmilo said:
While this is very much true, and very well put to boot, most people are not pros and only make music for fun. If your day job involves staring at a computer screen, making music on a computer like all the pros do simply isn’t fun.
Yeah, you are definitely right.
I guess what I left out or could not verbalise is that I feel most people do not want to go through the "learning your tools and your preferred way of working" phase. Although I will say that it will make a difference if you get a nicely designed knobby box that makes some decent beats vs being told you need to properly assemble all these cables and pieces of audio junk, write some SuperCollider and maybe it will eventually sound good.
Still probably the fastest way into EDM is getting Live and following tutorials on YouTube.
-
1 hour ago, yekker said:
I told him to just learn ableton. He wanted a box that does everything. He'll figure it out.
Feels like every time you tell someone "hey here's the tools all the pros use, most of them are cheap as hell and free, don't waste your time with this bling thing" they will nod, thank you, and the next time you see them, they have the blingy thing.
Fast forward a few months, the blingy thing is gathering dust somewhere.
-
3
-
2
-
-
I tried with the demo project that it comes with, and that is pretty light and things still did not work properly.
It will take some time to work up the guts to ask the man directly, though.
-
7 hours ago, yekker said:
101 is too much money for what it is imo. But also it can be good having limited gear, it pushes you...
...into getting more gear.
-
3
-
-
Hey, anyone else using the humaniser M4L devices these days? I am on Live 10 and figured that I would give them a shot, but something is really off and I get tempo fluctuations at around 100ms or something insane like that. It sounds even worse than my regular playing.
I am pretty sure there is some math error inside the plugin that accidentally multiplies things by 10 or something like that.
These are the things I am using https://maxforlive.com/library/device/2466/group-humanizer
-
59 minutes ago, purlieu said:
What benefits does Distrokid offer that someone like Soundrop doesn't? I use Soundrop and they take a cut of my income, which makes sense as I don't make much cash off streaming. There are no upfront costs so I'm never out of pocket. Obviously if somehow my music starts getting a lot of traction and my Soundrop fees end up well above £20 a year then I'd move to a different model, but for those who aren't even recouping that much then surely it's a better approach?
Distrokid claims (not sure actually) not to take any cut, but there have been reports of some 'processing fees'. I guess they just were the first to do this thing, now that there is competition it's probable that something else exists that is better.
I plan to switch off Distrokid to Soundcloud Repost soon, because nobody listens to my stuff anyway and I am already paying for the Pro Unlimited plan (which includes Repost).
-
Reaper is going to work for this too probably.
-
4
-
-
Tried to finish this one a little more than usual. Really getting into this smooth dreamy krautrock sound but it keeps hypnotizing me badly so I forget to actually make the composition more interesting as well.
-
30 minutes ago, oscillik said:
You're not getting it. I give up. Have a good evening m8.
Not sure what is there to get. All popular streaming platforms are bad, but there is no real way around it because they are the only players in town.
At the same time, if you can't imagine how it might be good for artists if people can listen to their stuff on Spotify to help them decide if they want to pay for a concert ticket then yeah sure it will never make sense to pay 20 bucks to Distrokid.
-
I remember using VCV Rack as a VST in Live and I have not paid for VCV Rack so I either misremember something or it is possible.
-
12 minutes ago, oscillik said:
I'm not sure if you realise it, but your post has literally just proven the apathy I have been talking about.
In the experience of the majority of the people I know who make music and have it up on Spotify, the "exposure" they receive through being on Spotify is negligable, yet they're paying dues to distribution companies for the amazing reward of…negligable increase in listeners. You said "having your stuff on there may translate to real sales through other means". There is a fucking huge emphasis on the word may.
And for some people, that isn't good enough to be paying more than what you're actually earning on the platform.
As far as I'm concerned, the only reason Spotify is being pushed by these so-called knowledgable industry types is because of payola. My musician friends and acquaintences get more exposure from live performances and Twitter
Well what's an artist to do? Sit on their stuff, never post it on the popular platforms that people use for listening? You can rail against copyright and The Industry as much as you want: the end of the day you are still eagerly waiting for a royalty check from them.
Let's put it into perspective that you are talking about 20 bucks a year for Distrokid, which will get ALL your albums on 20 something services, including Spofify/iTunes/Youtube/Amazon. This price is worth it even if you treat this just as a way to upload your music somewhere and share to your friends.
I am not arguing that industry people are pushing Spotify because they get kickbacks or are just useful idiots. This stuff should be relentlessly called out as much as possible, but go ahead name a better way to spend those 20 bucks a year.
-
4 hours ago, oscillik said:
It just isn't worth it for many artists to be on Spotify.
It's probably true that it does not make monetary sense, but it is a kind of a way to get your music out there so that there is a nonzero change someone will listen to it.
I.e. when you have a person in real life asking "hey where can I listen to your music" and they already happen to have Spotify on their phone, they can easily find you and hit the follow button so they can check you out later. The same is true for YouTube and Bandcamp of course, but Spotify is quite popular (also Apple Music I guess), so it helps to be on those platforms.
I have personally bought several vinyls direct from the artist thanks to having heard them on YouTube so even though you may not make your money through Spotify or another platform, having your stuff on there may translate to real sales through other means.
-
2 hours ago, chim said:
Doesn't that have something to do with his label contracts?
I wonder what the hell sort of label contracts are cool with accepting 50 bucks for a million listens. At least from the article it seems to say that he directly got some receipt from the service.
I agree though all this sounds sketchy as fuck.
-
Yeah the M1 thing is such a huge change even though both regular Macs and the new ones are running the same operating system!
I was almost about to get the new M1, but then I realised that this will break my audio interface drivers and well I figured I would just wait a couple of months for MOTU to get their changes done.
-
12 hours ago, rhmilo said:
No, only M1 Macs - on account of them having ARM CPUs, like iOS devices.
Right, so - being pedantic here - @Valleyfold's post is wrong and it is not enough to have macOS Big Sur, you also need the M1 hardware.
Max/MSP
in EKT General Discussion
Posted
Re: triggering automation clips.
Do you mean something like having pre-made automation clips in Live and you would sequence these clips from Tidal by the same logic as you trigger MIDI notes?
It feels like a workable solution to this is just map a some notes to trigger those clip slots in Live. After all, you should be able to sync Live and Tidal through Link which should take care of the synchronization problem. Then the oyster is your world and you can set the clip launch quantization off the grid to fully control things from Tidal.