sweepstakes

Cheers, that looks way less bulky than what I had in mind!

I dig the rack - is that just 4 Happy Endings bolted to a couple planks of wood? What are you doing for power?

I was getting in a good rhythm over the last week - did a NLC 8-Bit Cipher and it went pretty smoothly, feeling like I'm getting alright at hand-soldering SMT, at least 0805. Then I tried to do a Veils today and phew, it was a disaster. I plugged it in and I'm getting Christmas lights but no sound. At least it looks pretty. I'll have to go hunt down shorts tomorrow, I guess. I think I'm gonna stick with thru-hole and 0805 for now until I take the plunge and get an oven.

I'm pretty OK with it. If you can figure out how to get 40% of our country to pull its collective head out of its ass, though, that'd be better. But I have next to no hope for them.

This isn't even up to par for a 2nd-rate Breadtube channel. After that live performance last year (or was it the year before) with the DNA sequences flashing in the background, I'm not really sure what they're going for. Has he been doing work on video exhibits for museums or something? It all has that vibe.

OT definitely needs more finagling than most in the gain staging department. I would not assume operator error, that's just its major flaw.

So 40% of the country, give or take?

For me, this is the most poignant thing they have ever done. It often breaks me down in tears. The sound design is incredible too - it sounds like the kind of buffer manipulation they've been doing since the Tewe days or earlier, but it's so delicate and timeless - it breathes, glows, haunts.

I don't think it even has nonvolatile storage, so that description is a bit generous. I was mostly referring to the front panel with the big start/end faders. Samplers certainly aren't for everyone. For me there's always been an appeal to playing a recording like an instrument. There's also a kind of beautiful emptiness to samplers and delays that's harder to articulate. They're like lenses or frames. They don't care what source material you use, and you work with parameters that are sort of around the recording, rather than changing the recording itself. This is emptiness is more apparent to me when working with delay or live sampling. I'm not the type that hoards sample packs, though.

This is basically a eurorack S612, as far as I can tell (although I've never used either):

bresident brexident

Agreed. Also I think your point about a realtime-calibrated OS is HUGE. The norns platform, which is available as a DIY project ("fates") now, really proved this for me. It's literally just a Raspberry Pi with a RT Linux kernel, high quality converters, and a lot of configuration, fine-tuning, and architectural considerations to ensure low latency (~4ms round trip) operation, in a nice case with a small amount of onboard controls. But aside from some minor headroom issues (which e.g. the Octatrack also exhibits) it feels like "real hardware".

I completely agree about the focused workflow and working with space limitations - they are a real medicine for the modern, distracted brain. As far as replicating the vibe of the SP-1200, I've heard good things about this https://low-hiss.com/ And @thawkins I disagree somewhat about being a tool for picking up a vintage sampler for the sound, at least a cheap one. Of course there are slim pickins for anything under, say, $500 USD nowadays, and paying more than that is a bit silly.

I seem to remember Madlib's brother or cousin had a sampler that couldn't save, so he would just always finish his beat before he turned off the machine. I bet he got really fast that way!

Indeed. And those Yamahas do sound really good. But yeah, persevering and finding a way to work with the gear is the right way to do it.