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Taupe Beats

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  1. November 17th, CMI plugin in V Collection plz.
  2. You made me a birthday song once and it was one of the most thoughtful things anyone has ever done for me. Sadly I have lost the song to time but the memory suffices. Thank you.
  3. Some focus on modern speed garage in this one
  4. I don't focus on modern speed garage in this one
  5. Focused on the modern Speed Garage on this one
  6. And yet you couldn't even quote me. Are you scared that I would have seen this on a message board and thought you were trying to show me how tough you were as some kind of threat? You may want to reevaluate how you made yourself look with this one, tough guy! Go listen to my mixes which I post here for you. No modular setup. Charter member of the Criterion Channel. And someone who can see how pathetic people who obsess over Boards of Canada are. Pathetic insecure fake.
  7. I'd suggest never generalizing about "people" in regards to literally anything. Especially not when it comes to the context of Boards of Canada.
  8. True there's a lot of menu jumping for the Pyramid. I tend to like using its randomness and probability so I don't find myself needing to jump from track to track to change things. For instance, I tend to like to dedicate an entire bank to messing with CC's/notes/whatever on a single channel, and then mute tracks as needed within the bank to bring in what I want. Maybe have a master bank in a sequence to do something like that but with more than one channel? To a totally unrelated subject. Am I the only one who thinks it's crazy that Ableton doesn't offer true onboard sample editing? Baffling that I can't truly crop samples on a Push and then have the sample actually cropped if I need to play the sample back elsewhere. I'd love Ableton's sampler if it actually did this.
  9. The thing about the Pyramid that @auxien is totally right about, there is a high learning curve for it. Certain things can be surprisingly complex to navigate compared to other sequencers (changing the BPM, for example), when you're not familiar with it. I admittedly had one for a long time before I finally started to gel with it. But that was also due to having other sequencers around and being too lazy to put the time in. I have since done so and found the Pyramid well worth it for precisely what you're mentioning @dcom. There are a ton of things you can do on that box that most hardware sequencers won't ever consider. Some things so unique that a lot of old curmudgeonly fucks will legit doubt is true when you tell them about it (hello prick from the Audiobus forums when I mentioned being able to send PC's on a MIDI LFO!). That kind of thing makes the Pyramid a lovely device, imo. Kinda like Elektron boxes, if you put in the time to learn their workflow, you'll get rewarded for it.
  10. He just did a Boiler Room set yesterday that was awesome
  11. Gotcha, and yeah the BSP being mono only for melodic stuff is a limiter for sure. As a Squarp Pyramid owner, I'd recommend that. 64 MIDI tracks at any given time, and a whole lot you can do within each track. A ton of great MIDI effects/tools that most hardware sequencers don't have. Also can do CV/Gate stuff (including conversion to/from MIDI) if you need it. Ever check out an FL Studio Fire that Akai made? https://www.akaipro.com/akai-fire
  12. I personally don't find the Arturia sequencer approach to melody all that great. For me anyway, my mind isn't running fast enough to be able to quickly think about gate and velocity changes per-step when looking at 16 identical knobs. For live sequencing, ok sure. But once you get into tweaking steps, it's not as intuitive imo. From what I've seen of your rig, I'd recommend a Beatstep Pro. 2 mono melodic sequencers (where the channels can be changed easily onboard *snicker*), the same drum track as the Drumbrute, and the roller strip can be used for either melody or drum tracks. Individual CV/Gate outputs (with an extra Mod output for the velocity) for the melodic tracks. A whole lot more I'm not talking about.
  13. I have the 2S. Had the original Drumbrute (not the Impact). The 2S has some really cool parts and major frustrations. I am not huge on Arturia's oscillators. The envelopes are great and can be looped ARP-style. I wish they'd implemented the filter exactly like it works on the Microbrute (other than having the ability to have an open gate for external signals which is easier to do on the 2S). The Microbrute's (and assuming the original Minibrute, never used one) filter is a thing of beauty. They put the "Brute Factor" drive stage at the filter level rather than the master volume on the Minibrute 2S. So much better in the Microbrute, imo. Patchbay's cool, a lot of modulation potential (and there's 2 attentuators). And one of the dumbest things about the Minibrute 2S (and Microbrute, for that matter): You can't change the MIDI channel without the software. WTF is a synth doing putting a sequencer on it and then tethering it to one MIDI channel without having to stop everything and run software to change it? Still waiting to see if Arturia ever updates the firmware for that. Ridiculous. Overall, surprisingly high learning curve for a monosynth, that can give you a likely wider sound palate than most other monosynths. And it's big (but not nearly as big as a Matrixbrute so silver linings). Drumbrute Impact has the same sequencer as the original Drumbrute. By far the best part of it (and the same as the Beatstep Pro'd drum track). The Drumbrute's sounds were mainly underwhelming (The bass drums were ok, BD2 esp). The FM voice on the Impact looks cool but I'd still rather have the Volca Drum for that stuff. The individual outputs is a nice touch.
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