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ZoeB

Knob Twiddlers
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Everything posted by ZoeB

  1. Aye, it's at least 90% Impulse Tracker, from a while back now! (There's at least one Scream Tracker 3 track, and one that's just noodling around on a SIDStation, but otherwise I think it's all Impulse Tracker.)
  2. Thanks! I'd already forgotten, other than that it was a pain to do... Nina assures me it was a hardware Black Magic HDMI capturing box that she hooked my laptop up to, then we synced the audio afterwards. (Maybe I should have taken camcorder footage of Impulse Tracker when I first made the track!)
  3. https://zoeblade.bandcamp.com/album/deep-cuts If any of you like quirky tracker music, this one's for you! ?
  4. https://soundcloud.com/varifocus/aphex-twin-drukqs-pre-listening-session-london-planetarium-082001 Sorry if this is a dupe, I haven't been here in a while... I couldn't find an existing thread about it.
  5. I need to learn to take my own advice, though. I believe I wrote that after writing a screenplay, and spending far too much time making my own Groff macro package (typesetting) in the process. It would have been much wiser of me to just get on with the actual writing part. At least I can articulate the advice, even if I'm not so good at following it.
  6. I think this thread's a duplicate of Breakbeat Resource. Or at least, it was originally, for anyone looking to find various classic breakbeats.
  7. Yeah, Nina doesn't do things by halves. ❤️
  8. Releasing things pseudonymously is a good way to try to gauge whether they're good, without getting false positives from people who already trust you. Although then you can get false negatives, what with there being so much new material from lesser known new artists. The Tuss was a pretty neat idea in that respect. I'm not sure how a "fake fake" double bluff would work though. Isn't that what the SoundCloud dump was in the first place, kind of?
  9. New bit of kit... ❤️
  10. Yep. I have a whole row of filters, so it sounds like I have a whole room of synths when I really don't, just one synth with lots of different filters to choose from.
  11. ZoeB

    Fan Art

    Is that a masonic boom piece? That one? No.
  12. DLMD: The lead that comes in at 0:34 gets a bit loud sounding when it reaches those higher notes, e.g. at 0:45. You could compensate for this in the patch with a voltage inverter, or the oldfashioned way with tedious automation in post. Either way, it'd be worth it. More importantly, personally I think the lead should be a bit more hummable, but you could chalk that one down more to personal preference. It's well crafted, but I think it could do with being more memorable. It's actually pretty close to being something I'd buy, if only it had hooks. Listening to the other two as well, p
  13. "Don't panic with all that noise. Noise just reminds me of the ocean, so it's a good thing." -- Dave Pensado
  14. My first Ableton Live track. Featuring spring reverb, sample and hold, ring mod, etc. Constructive criticism always welcome. I can't do much more about the background noise until I move my spring reverb tank though! (I already notched most of it out with an EQ.)
  15. Let's see... For a basic pretty good monosynth... 2x A-110-2 VCO A-184-1 ring mod / sample + hold / slew limiter A-118 noise generator A-138 mixer A-106-5 smooth multimode filter A-124 nasty multimode filter 2x A-140 ADSR envelope generator A-132-3 dual VCA 2x A-180 multiples According to ModularGrid, that comes to €955 plus the cost of a cheap 3U case. These modules should be pretty easy to get second hand, too. Two ADSR envelope generators and two filters is a bit of a luxury, so you could swap some of these out for e.g. an LFO, or a spring reverb, as you wanted an effe
  16. I kinda like the fact that there's fake Aphex Twin tracks, it's like a fun little Turing test.
  17. Not that it matters, but what the hell... How about e.g. Boxing Day? The steep cutoff points at 15kHz, 16kHz, 17, 18, and 19 look very reminiscent of lossy encoding to me. While I've only looked at MP3 files as far as that's concerned -- I haven't had a MiniDisc recorder since iPods took off -- I'm guessing ATRAC might look like that too?
  18. He said this, quoted above: I might be misinterpreting it, maybe he played them and recorded the MIDI data of playing them, then when he was recording everything he was barely doing anything at all, just letting it play out... Although this was 20-30 years ago anyway...
  19. OK, my turn: anyone have the citation for any Analords being recorded to MiniDisc? I can find another WATMM thread on it, but again with no citation.
  20. ZoeB

    Fan Art

    https://www.flickr.com/photos/masonicboomk8/4213118089/
  21. Maybe you were being sarcastic but in the case that you weren't, RDJ has said that he doesn't multitrack when he records. He sequences everything and just hits record on whatever he's using, DAT/laptop/hard disk recorder/etc, then hits play on the sequencer. He records everything straight to a stereo two-track. Really? What's the source on that? It's always good to check, so: Over twenty years later: It all depends on the setup he's using at the time. There's no right or wrong answer. Most of his music, I believe, is heavily sequenced, with some live FM pad pl
  22. You should see the module she's currently making me... I realise it's absolutely the best "problem" to have when I'm trying to make music (or get day job work done), and she's at her desk next to mine, loudly making much better music, heh...
  23. Thank you everyone, some really useful and thought provoking advice here! When using compression on a whole group or mix, I'll turn the volume down to compensate, and focus on whether that "pumping" sound is better or worse for that context, ignoring the volume gain you can get from reducing the dynamic range. It sounds like these new standards might end the loudness wars, so what was louder music will just become constant-comfortable-volume music. I can see how more aggressive styles might still like that, but it's nice to think that more dynamically expressive music will rise above
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