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About Lucas

  • Birthday 01/22/1989

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    Food, sleep, reproduction

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    Leipzig, Germany

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  1. with "2015 live releases" i meant 2014, just noticed now. excited to hear the other ones!
  2. my phone is not an intelligent one so I couldn't see your messages guys, schade! would have enjoy a beer and a little debriefing with some watmmers... next time! this was great. first time I saw them live, amazing. I didn't got into the elseqz as much as the two previous releases (not talking about the live ones) but what I heard tonight made me think they're elaborating on the 2015 live releases + eleseq and it was a real brain fuck. my body loved it too. pinnacle for me: the series of the three tracks "funny one with pretty fast percussive melodic sounds" + "dancefloor one with the fat ae bass hits" + "IN YOUR FACE noisy chords / silence". I regret they didn't throw out something in the taste of acdwn2 from elseq4 near the end but I'm being unfair. I just know the four first live releases so now I want to hear the other ones. Maxwell I might have stand just next to you slightly behind (1m80+ dark haired guy with curly hair, not the one with the finger in his ears during the whole modular show but the one with the ear plugs ^^). I'll check watmm sooner next time something similar happens in leipzig (or berlin if it's aphex or autechre again ;-)
  3. I'll be there too. But didn't think about watmm till now heh. PM if you read that? I'll leave home in about 20 minutes but I can send my number with a PM before.
  4. hi, I just post out of curiosity: how did you find yourself using the K1m, I mean for which type of sounds? Never heard about this synth and I'd still like to replace my Yamaha CS1x one of those days because I quite dislike to program it. I'm looking for a capable synth for pads.
  5. Another JJOS2XL question: I'd like to create nice "break" programs in order to use the classic breaks I like to manipulate (think, sesame street etc...). I love Renoise for that because you can use the "trigger sample from XX start point" command but also program your Renoise instrument so that the sample (I mean the whole break) keeps playing in loop until the next start point you enter in the timeline, allowing you to program really fluid drum breaks. I'd like to mimic that behavior with a MPC1000 program but I actually doubt it's possible!... If I use the "Chop" function, create say 8 chops and assign them to pads, each pad will just play the sample until the beginning of the next chop. The closest I can get to the behavior I'm looking for is to set the end of each chop sample at the very end of the whole break but that's kind of stupid because the break doesn't plays in loop so every chop stops playing when it reach the end of the break (so each next chop is 1/8 of the whole break-length shorter than the previous one). Do you music makers know what I mean? is there a secret way to do that or should I simply accept the fact MPC1000 is MPC1000 and Renoise is Renoise? thanks!
  6. that's very probably the best way to go! didn't think about it, thanks :-) it's a shame that it's not possible to do that with an audio track though: for that kind of recorded loops it's more appropriate because the sound will play anytime when you unmute the track. If you use a program the sound will just start playing if the track is unmuted at the moment where the sample is triggered, except if you use the MIDI Level mute mode, which isn't an option for me as I use the MPC mainly to sequence MIDI. maybe there's a work-around with Programs but I still didn't find it. edit: regarding the learning curve of JJOS2XL, I find it ok to be honest, as lot of the basic things can be understood without the manual. The manual is really poorly translated though, quite a pain to read!
  7. enjoying my MPC1000 since a month or two, what a great piece of gear! I'd like to find out how to do something special though and have difficulties solving that completely alone (I'm on JJOS2XL): I'd like to sample a synth line (need several voices of that synth with different settings) but I'm not sure how to do it. The synth line is poly, actually just one note playing after the other one but the release is long enough so that each note didn't completely faded out when the next one starts. Also it's a straight contrapuntal line: each note plays between the beat. So the problem is, if I sample a bar of that thing, the very first note of the loop won't have the release of the previous one (because there's no previous one), which is ok when I activate the loop for the first time as I'm performing, but as soon as it repeats, the release of the last note of the loop will be cut off. Ok to be honest I didn't think about one thing before I wrote this post haha (classic though). I'll post anyway, can always be useful: so maybe I should record a sample which is say twice long as what I wanted to record, and set the second half of it as a loop? So that this very first note which isn't layered with the release of the previous one just plays once at the beginning, and then the samples keeps playing a loop of the sample with a start point being just before this same note, but with the release tail? Hope that makes sense! I would still be interested in WATMM's views on that, it's quite specific but actually quite common if you sample your gear as soon as there's more than one note.
  8. Thanks guys for the positive feedback. The last track of the edit, Dartz1, comes from my software setup (Renoise/Reaper) but it didn't sound too good in that version mix wise. The hardware version sounds more "classic" somehow but also more solid, I'm still surprised you can actually program that kind of beat with the Electribe ESX1 (but in the end, why not actually? surely you won't come up with it if you think it's impossible to make it). Anyway I still want to work on the pads for the hardware version, I do almost all my pads with a Yamaha CS1X so far and I don't like to program this synth, it often frustrates me. I'll post "studio versions" when I have some.
  9. I have a Quadraverb 2 and there you can definitely map the time value of delays. What I didn't understand is how to map any parameter to the modulation wheel, which is in most of the cases the first controller I would think of using. On the MPC it's CC0 but that doesn't seem to work. Have to make some searches.
  10. Not a proper track but a selection of excerpts recorded during my live-set rehearsals. Strictly hardware, what you hear is the stereo mix of the mixer + a couple of edits (but no layering) and a quick mastering in Reaper. Didn't wanted to post it here in the first place: I just made it yesterday because I want a demo to search for places where I can play with my setup but in the end I thought it ended up sounding nice and giving a good idea of my set so in case someone care, here it is: [sc5]254839527[/sc5] Most of the tracks don't have a fully recorded version: the focus was to work on them in the context of the set in a first place, and now that it sounds reasonable enough as a whole, I'll be able to focus on the tracks individually. So far I have 11 live-hardware tracks and will keep adding more until I'm able to adapt the track list dynamically according to audience feedback or simply the place where I play.
  11. i found the library track really pleasant, nice ambient techno or whatever. sounds sweet for the ears also!
  12. Nice drum manipulation, how did you sequence that? If I would develop that I would probably add a new instrument to it, another flavor to the whole (obviously can't suggest anything concrete there). why do you call the track "atonal" by the way? it has melodies and chords to my ears
  13. I own a Bass Station 2 for about a year. It's certainly a versatile synth although it's better at clean sounds than it is at dirty sounds imo. Further IMOs: - I actually also think it's better at lead sounds than it is at bass sounds! you can make good basses with it, some decent acid sounds but the sounds I came up with it and I'm happier with are rather lead sounds for some reason. The fact there's practically no keyboard tracking (apart some filter keyboard tracking if you use the "acid" one I think but you can't fine tune it) makes it sometimes hard to use in a large octave range (because high notes sound relatively louder. I've tried to use the integrated limiter for compensating that but was never happy about it because it basically squash the sound). - You can't go for a very snappy sound. I don't know how to explain it but the enveloppes are like that (and the guy of Sonic Lab said it before me in his video dedicated to the BS2!) Generally it does the job for me but I've never been too excited about its sound. I never really tried other than budget hardware synths but I was more excited about the sounds of my Monotribe when it came to bass and acid. I really loved its filter and kind of miss it when i program a bass with the BS2. But I don't want to be too hard with it, it's pretty versatile and I'm kind of re-discovering it since I stopped to consider it as a bass synth only. As I said it's great for mono lead sounds and I'm sure I still have a lot to discover with it in that direction.
  14. finally got a black one with JJOS1 and the RAM upgrade for 565€. thought i would found a cheaper one but that was still a good deal for Germany. I'm sticking to it since yesterday, compared to the MPC500 it's day and night! everything goes faster and it's so much more practical... did some of you guys know both JJOS1 and 2XL? I'll probably try the demo of JJOS2XL in the next days. I heard a lot that "the learning curve of JJOS2XL is pretty steep" but I already feel very comfortable with JJOS1 (although I still don't know every aspect of it as I just use it as a MIDI sequencer so far). Can someone say if I might feel a bit lost if I switch to 2XL now? Not sure I wait that I've transferred/adapted all of my live set on the MPC1000 before I go for 2XL (maybe it would actually make more sense to switch from the beginning on but I'm afraid it's feels complex: right now it's very refreshing to work with my tracks on JJOS1)
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