Nil

Just sent an email to Randy at Madrona Labs regarding Sumu... now waiting for his answer. And I’m so looking forward to having Zebra 3 in my arsenal. Urs & his team definitely code my favorite synths.

Pretty sure you’re right telefunken. I was listening to that Errorsmith x Mark Fell EP a couple of days ago, and it sounded really similar indeed. Now I’m waiting for the new synth by Madrona Labs, Sumu, which is supposed ti be « additive synthesis meets FM », to test-drive it against Razor. I believe Zebra can also go in such territories. Anyway, I still have a lot to learn regarding FM.

And done. Black Snow is such a grower.

How did the room sound? And how easy was it to get useful informations to produce/mix in it? I already miss my previous, acousticly treated room... but I love the convenience of having my set-up at hands. I'm lucky that the Amphions seem to be more sensitive to being set right from the listener perspective than to the room itself, and I think I've got them right (which might not be that obvious on the pics).

@darreichungsform: thank you! @D4M0: hehe complètement ;) It's always been all about monitoring to me, and the Amphions deliver plenty : best purchase I've ever made. I sold the Rise a few months ago, I struggled to make it work in the context of a track. It was a great bit of kit to jam with though. Besides, I'm willing to compose/produce much more minimalist tunes, so I'm all good using a generic keyboard and the Expressive E Touché you can see on the left of the MIDI KB. Now I just have to figure out how to finish a tune... and then an EP/LP/liveset/whatever. I have a clear idea of the tunes I want to write, now it's all about finding the right balance between what I want and what I can (aka the never ending challenge hehe)

Moved in with Madame, so my studio's now in the living room. I wanted to find an elegant and convinient way to have my gear, so I built myself that desk. I'm also building a few acoustic panels I can move around when/if needed:

I'd love to contribute to that topic, but I'm quite a noob when it comes to FM synthesis, most of my knowledge comes from randomly messing with u-he's Bazille oscillators. Anyway, as I'm on a Gabor Lazar binge, I was wondering how similar sounds can be achieved. Sounds like FM and/or comb filtering to my ears. I've made some similar sounds (well, maybe closer to Errorsmith's early works) using all sorts of modulated delays and reverbs, but I'm really curious to know how to get such sounds with FM. Any advice / tips ? u-he's Bazille and Zebra, as well as Aalto, are my weapons of choice for anything FM. Thanks!

Same here. Also: Ssaliva - WYIN I suppose I'll order OPN's Age Of soonish too.

Loving that new single, really. Feels like a nod to Replica (my very favorite albums of his) and the Ford & Lopatin LP (which I also love), so it's all good to me.

hehe AOTY already for both albums anyway as far as I’m concerned.

I have a couple of questions you guys may know the answers. Is there anything similar to Live’s non-destructive groove quantification ? I’ve used the SWS FNG Groove feature to extract / apply custom groove templates (done with Numerology’s own GrooveClock), but to test different grooves you basically have to apply/undo/apply another one rather than switching on the fly from a template to another before committing to it or not. Live’s way is quite more flexible, hence my question. Secondly, is there a native way to have a section looping and to switch between (MID) patterns, or is the Playtime VST RSP mentioned a few posts ago the only way to go? Ideally I wish I could switch drum patterns on the fly within the project multitrack MIDI editor. Thanks!

CD box-set ordered. And now downloading the 24bit wav.

I spent sometime yesterday testing ReaLearn, and that’s exactly what I was looking for re:macros & mapping. I had a blast using one of Numerology VST’s sequencer into Bazille, and sending 14bit CCs modulations with Dialog Audio MP3244 ans Seq4 (do yourself a favor and check them both, no matter if you’re a hardware, software or modular guy) to controls loads of Bazille parameters. Using ReaLearn I can finally use MIDI CCs generated by VSTs as I want, with out any latency, and I can map them to whatever I need to. I’ve been trying to achieve that for years with other DAWs... The timing was super tight and the modulations butter smooth. Damn I’m impressed (and even more enthusiastic). I have a day-off tomorrow so I’ll try to write a proper loop with Reaper, I might even end ditching Live. I’m happy I’ve been mixing with Reaper since v3 though, pretty sure that using it for MIDI won’t be that much of an hassle now that I have that macro/modulation/mapping thingie sorted. Thank you so much gents, I wouldn’t have tried without that thread. Thanks a million! RSP, how is Playtime? I’ve grabbed the demo but haven’t tested it properly yet. Might be something I need to sketch ideas the way I’d do with Live.

Randomly came across that: https://www.admiralbumblebee.com/music/2017/11/30/Reaper-macro-controls-the-cool-way.html I’ll give that ReaLearn/ReaControlMIDI a try, might get quite precise using 14bit CCs.

I listen to everything through my studio monitors, which might be too brutally honest to some to simply enjoy listening to music, but I love them. I went for the whole Amphion system (One15 + Amp100 + cables) and it definitely is the best purchase I’ve ever made. Soundcard is a SPL Crimson mk1, which is an amazing piece of gear (and quite affordable for such quality). I barely ever listen to my vinyle records, so it’s FLAC/Apple Lossless > Crimson > some custom made Mogami XLR cables > Amp100 > Amphion cables > One15. Oh and the monitors are on stands, with some sorbothane bumpers in between. I won’t update anytime soon, or ever actually. I’ve always lust for the best monitoring system I could have, and I’m done. I’ll never be able to spend that much on gear ever again anyway ^^

Using Live to write/produce and Reaper to mix. Often using Numerology (standalone and VST) too. I suppose I rely way too much on Live’s macros (and the fact that you can simply dial in a custom range of values for modulation AND type-in the minimum and maximum values) to fully switch to another DAW. I wish I could do everything in one software though, I’ll happily go 100% Reaper whenever they offer similar features.

I’ve listened to it on repeat over the weekend, it definitely is incredible. His production feels sharper than ever, and I love how the compositions sound even more hmm to the point than ever before (to my ears / ymmv etc...). I’m gutted I can’t see that one live, his TransAll and Xerrox gigs I attended years ago were stunningly good. I haven’t listened to unitxt in quite a while (but have been on a univrs binge for a couple of months), will listen to it again asap.

I love challenging books (Boulgakov’s « The Master and Margarita » might certainly be my very favorite one). Last year I finally completed reading Salman Rushdie’s « Satanic verses » : dense, intense, complex, delirious, shape-shifting, intricate, cleverly executed and incredibly well written. But it feels almost easy to grasp compared to what I’m currently re ding. I’m 300 pages into Joyce’s « Ulysses » and it’s a fascinating read so far. I’m not sure I always understand what I read (I’m pretty sure Most the time I don’t, ha!) but it’s an incredible experience nevertheless. I loved « Portrait of the Artist as a young man » when I read it years ago, Joyce’s style is unique and lush af, certainly the writer I love the sheer style the most... bit damn it can be demanding! And it feels like « Ulysses » is his elseq or Twin Peaks s03 ^^

Streamed it twice already while waiting for the CD to show up in my mailbox. Masterpiece, pure lushness.

I haven't been that impatient since hmmm Syro? Sounds like his best material to date.

Can’t wait. Really.

I watched that vid a few days ago. Somehow it makes it music even more fascinating to me.

Immense.

I haven’t listened to it since they first released the video of the live performance. As much as I love Noto’s ambient work, I’m more into his beat-driven material. For some reasons I’ve never enjoyed that much his collab with Sakamoto. I suppose I prefer when the sound-palette his 100% electronic. But IIRC Glass is a long drone piece, right? Will listen to it again now that it’s properly released.