source_rec
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Posts posted by source_rec
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tbf everything except in a room felt underwhelming? compared to how he usually treats arrangements.
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3 hours ago, Wunderbar said:
once u set phrases to 64 steps how does it differentiate from patterns ?
redux doesn't have a sample selector - a single redux instance is basically a single instrument in renoise terms. if i want one track to be something like drums with a bunch of S commands and another to be some melodic sample playing several notes, i'd have to use two different tracks with two different redux instances. at this point i'd rather just use renoise lol
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5 hours ago, mcbpete said:
Have you looked into using Redux with Ableton ?
My tracker -> live workflow (from Buzz -> Ableton) was to export loops of the patterns and save them as wavs. Then stick all the drum patterns in one Ableton track, synths in another, sfx in another and arrange them in a sort of chronological order of the set in the scene view. That way you could have sections of the track playing as long as you like, introduce bits from other tracks into the existing one and just have a play on the day. I also had two 'live' tracks with a VSTi on each of them for live jammin'
I then had an effects chain on the master channel with each effect mapped to a midi device for some global shenanigans
thanks!
redux is nice but i'm not onboard with how it's forced to use phrases instead of patterns which i'm used to in renoise.
the workflow you've described is basically what i've had in mind and most likely what i'll try and do first. i have a launchpad x arriving soon to trigger clips with, will report back.
alternatively, i think i need to explore dj mode on my sp404 and also see if a hardware only solution is viable for this since i'd like to avoid relying on ableton tbh
2 hours ago, Summon Dot E X E said:I do something very similar to this when performing live with Reason.
WAVs with tempo data in a folder. Drag them into main sequencer. The encoded tempo data will cause them to stretch out as needed to sync the song. You can also manually change or automate the global tempo if you want to go between two songs with much different tempos. You can also do high quality transposition of the entire recording, so if you've included key information in your DJ track filenames, you'll be able to make sure the transition is harmonious.
On top of that, I have various instruments and devices like sequencers, arps etc for live performance and effects. With the effects, some are inline, some sends, some inline just before the mastering suite for an entire track effect.
My DJ Tracks folder is like this:
Each initial number corresponds to two scales: The major and the relative minor, because of the naturalness of switching between them. The number 1 corresponds to C Maj / a min and it ascends in semitones, so 2 is D♭ Maj, etc.
Additional scales are either grouped in with a major or a minor if they are close enough in some way that could be pleasing, but if they stand totally apart, they do not get a number.
If you prepare enough audio files like this, you can have a huge variety in your live shows -- each one can be very unique, especially when you add the live instrument jamming on top.
very nice! i like the methodical approach.
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Hi everyone,
I'm a bit confused/potentially lost as to how one can perform live pre-recorded music in a meaningful way and probably am just looking for daw/gear suggestions to do that.
In my current process writing stuff for my second release, i basically make shitty tracks i don't like in ableton - it forces me into a very personally formulaic way, using the same tricks and writing music that basically comes out more or less the same every time. afterwards, i put those tracks and their stems into renoise and make stuff i actually like there - the fact that i can't say waveforms and force myself to use step automation makes the structure and sound more abstract to my ears, which i like.
the problem is that i'm not sure how to perform these live. putting stems of renoise projects back into ableton to perform/jam over them live feels almost incest-y at this stage, but doable. i own an sp404mk2 which could potentially work as a hardware box playing renoise stems over which i can jam on a bass guitar or run doodly synthy sounds from ableton or something, but maybe someone worked out a different workflow using renoise itself or stems running on hardware?
how do you play pre-recorded tracks but also altering them live basically?
thx
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11 minutes ago, dcom said:
Use it as a send or insert effect with live input. The SP series workflow is very particular, and suited for very specific use cases. I have an SP-404A, which I got to extend TR-8 with sample playback, but I'm also trying to find ways to work with the SP in other contexts. I have better samplers with better workflows and use cases, so I've been neglecting the SP-404A lately.
3 minutes ago, Limo said:Hey, this is something I have some experience with!
FWIW (YMMV, OFC, ETC):
- The sequencer is indeed horrible. The canonical workflow of SP machines is that you resample, that is to say record "sequences" in real time as new samples. If you're good at finger drumming, more power to you. If you're not, there is now, as you have noticed, a sequencer, but it's not very good. It gets better with practice, but it's still a frustrating POS. The step sequencer that was added in recent firmware I haven't used yet, but it doesn't look great.
- Sampling and resampling is quite fast, as is trimming samples. Even chopping is fairly quick. Basic operations such as panning, normalizing and tuning are also super easy.
- The effects are very, very good. Not bread and butter (equalizing a sample is a bit frustrating and the two reverbs are ... characterful) but they can quickly turn pedestrian samples into pure gold. Also, every studio should have the SP303 vinyl sim as an end stage before the final recording.
So yes, it's basically a resampling fx box, as SP machines always have been. The mk2 tacks on a lousy sequencer but that does not change this basic fact.
Whether this means you should keep it is up to you. I had one myself for about six months, decided I didn't really need it because I already had an MPC One, which is in all respects a much, much better device, but ended up buying it again recently because the effects are just that good.
My couch workflow is now to sample into the SP 404 mk 2, usually with effects to rough things up, maybe process a bit further (tuning, trimming, more effects) and then sample the result into an MPC 500 for sequencing. Sometimes I also sample a sequence from the MPC back into the SP 404 for further processing - and then back into the MPC again. Finally, if I decide something is worthy of becoming a track, I sample the sequences from the MPC into the SP404, apply a vinyl sim to the result and record a final track into Ableton.
Whether this works for you, you'll have to figure out for yourself. Me, I like messy, hazy loft stuff (Basic Channel, for instance, or the LA Beat scene) so for me this works. If you're into cleaner, more precise music, the SP 404 likely isn't for you.
Good luck!
thanks! yeah i found that the saturator, the vinyl and cassette sims as well as the pitch shifter in the djfx looper are super nice to generate more interesting samples from otherwise mediocre material; i guess i'm somewhat happy to keep it just for that, i was just worried that i may not be using it to its full potential lol
i currently have it set up to receive mono input from my 2nd headphone out of the audio interface for quick sampling and then back in on playback, maybe some more workflow optimization is in order
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can anyone suggest any creative uses for the sp404 mk2? i got it and doesn't feel like i'm jelling with the workflow very well - the sequencer is too archaic (after using digitakt) and i find it difficult to use besides as a resampling fx box, which feels like a waste considering how much it costs
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3 hours ago, chronical said:
is it me or does this photo look like he's using the gigachad face filter. or has richard been doing jawline exercises
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11 minutes ago, thumbass said:
Great that it's on CD! Instabuy
same
21 quid for vinyl is ridiculous
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On 4/20/2022 at 8:53 AM, psn said:Be aware that the internal sound engine of the Tracker is about 25-30 ms delayed behind the outgoing MIDI sequences. A total pain in the ass if you want to work with hardware only, as the the only viable workaround is to monitor/record through a DAW and set up track delays for all the MIDI tracks.Polyend has been trying to patch the issue since before version 1.3, and there still doesn't seem to be a fix available in the 1.6 beta:
god damn this is a serious bonerkiller. i'm currently selling my digitakt to buy the tracker because digitakt is an over hyped one-shot sequencer. thanks for killing my plans lol
hope whatever polyend are about to release will interest me more
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i've finally come around to finishing some tracks:
https://sourcerecision.bandcamp.com/album/looking-at-steel
questing to figure out how to make folk jungle or something
pwyw/free, i'd prefer free
direct download link here:
https://www.dropbox.com/s/849jtieyllt9f7e/source recision - looking at steel.zip?dl=0
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watched Pleasantville last week. Highly recommended - what seems to be a surface-level feelgood flick at first, it develops into a super rich film with great symbolism
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4 minutes ago, plugexpert said:
It looks like a lot of the limitations can be fixed with firmware updates, so might be worth waiting for a future version, see what they can implement additionally.
Of course, that's what I secretly hope for as well lol. However, screen space is really expensive real-estate on a screen like that, which I reckon was one of the reasons they've decided to go with some of the limitations. Imagine introducing more than 1 note per column to the way it is right now - it can only show 4 tracks with all columns or 8 tracks with a single column; adding any more will make the screen look like complete jibberish I reckon.
6 minutes ago, rhmilo said:The niche of now middle aged people with too much money who used trackers in the 90s, I suppose.
Great point, I knew namedropping Raczynski on their webpage was a bit suspect
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I was a super hyped for Polyend Tracker right until the Loopop video. No polyphony on tracks, samples in mono only, only 1 note column per track, only 2fx columns per track, 90sec sample limit, single stereo out channel, granular synth limited to single grain and probably more limitations that I'm not aware of. For me personally, at €500 it seems a bit irrational to choose it over Renoise which cost me under €70 and can run on a shit laptop. And since it doesn't open xrni files (but reads .mod files, that's cool!), there's not much point having both around.
The only real advantage it has over renoise on a laptop is probably being performance friendly. However, in that case I start thinking of hooking up something like an apc40 to renoise and going crazy with mapping out macros and phrases etc etc etc. Provided that the premise of "everyone has a laptop" is accepted, renoise + apc40 still comes out cheaper and offers much more customization and flexibility. That being said, I understand that it's the limitations of hardware that often force you to become creative, I don't feel like this piece falls into the category of that type of hardware.
Overall, it really does look well-engineered for the price they're offering it for but I'm not 100% sure on what niche it's supposed to fill.
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too obvious with the minipops 67 rhythm/groove; no depth to the mix too
live performance of whatever you write (in renoise)?
in EKT General Discussion
Posted
perfect. i'm working on an deep fried idm crazy frog remix that will be perfect for this