Today's jams; I tried to be a bit more adventurous/experimental with the Cosmos settings, and also use other settings than just the two-delay:
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
@monsterthompson
I just got a Boss HM-2 Waza, and yes it’s freakin awesome.
Completely worth it.
Just thought you’d like some feedback (pun intended) since you seemed I interested in it.
the custom mode seems well better adapted for Bass than the standard mode but only tested through headphones.
Went into my full range rig live and it completely slayed on the « high » range part of my rig.
I just got a Boss HM-2 Waza, and yes it’s freakin awesome.
Completely worth it.
Just thought you’d like some feedback (pun intended) since you seemed I interested in it.
the custom mode seems well better adapted for Bass than the standard mode but only tested through headphones.
Went into my full range rig live and it completely slayed on the « high » range part of my rig.
I appreciate the update
I’m still pretty happy with the Fuzzlord, but it’s always nice to know what’s out there.
A brief excerpt of the horrendous noise jam from last night. It sounds like we were faxing an ambulance to a satellite.
I really should buy my neighbor a nice gift.
I really should buy my neighbor a nice gift.
I had you in mind as I searched for "usable" moments. There were some other segments that I thought of presenting, but I had a hihat click going at one point and didn't notice it in the moment, however it pokes out oddly in the noisescape.
I also keep rolling into some jams by @JES on my soundcloud, and really enjoy them.
Put in the work, no secrets and cheats here.
Indeed, finding « usable » or perhaps « cohesive » moments in a chaotic music piece can be a very arduous and brain melting endeavour.
Since the concept of what « good » is incredibly subjective in said context.
I think this is one of the most misunderstood elements of "art" by most outsiders, and many insiders. There is a misunderstanding and underappreciation for the amount of raw material that needs to be worked over in any production to arrive at a finished product. It is easy to hear/see a finished product and think "obviously that is how that should be" without the perspective to recognize what it took to create from a blank canvas. On the other hand, it is probably a lot like baking, where if you overwork the dough then the final product will lack integrity. It is a delicate balance to get it "right."
After spending lots of time doing old school chemical photography and playing in bands I've come to terms with the fact that nobody cares about my time and effort, they only care about the final result. If my work sucks (i.e., the audience dislikes what they hear), they walk out.
Y'all be kind this is the first attempt I am willing to share in the ambient noise vein. Still learning my systems and putting things in place.
Void Machine Dream
Void Machine Dream
Understood and agreed. Generally the audience is paying for the entertainment value and if that isn’t there for them, then they do not care how the sausage was made. Artists might be interested the process and exist in the audience, but they generally aren’t a large enough consumer to provide meaningful financial success. The money is in the Coca-Cola products you can easily produce, bottle, and distribute to a large consumer base.
However, if you get something that is a huge hit, then the “behind the scenes” stuff is interesting to a wider audience and you might get some traction with “the making of” and “director’s cut” material. But that’s the exception not the rule.
So much comes down to the education and sophistocation of the general audience, Americans are pigs in that regard with much of the world beginning to follow with a few exceptions. Television, video games, and the internet commercial culture in general has robbed us all of much of our available curiousity, courtesy and patience. There is just too much information, too much stuff and we all want more, More, MORE. We all need to simply slow down and learn to listen, to learn, turn on our curiousity again, savor and enjoy the marvels that abound us. I was reminded of this by a great friend I had missed talkng to for many years, decades in fact, we have been having wonderfully deep conversations by computer at odd times as he is in Africa. I kept having to settle my self to stay in his frame of time and it has led me to realize all of this and how crucial it is to slow down and connect.
And yes that rant is for me, you can choose to take it to heart or not.
It's coming across at a low volume level on my playback system. With all the deep lows it ends up a bit muffled. What's the sound source/signal chain?
This was all done in VCV Rack 2 and I was not sure about the levels, I should compare on several sources I did it all on headphones. I will work on that for next time.
When I make stuff in Cardinal (basically the same thing as VCV Rack) I open the final wav file in Audacity and boost the level until it peaks at -0.3 dB using the Amplify function. That way I can be conservative with levels in Cardinal.
Stuff like that is why I always run my tracks through Sound Forge afterward even when I'm not going to do the whole mastering process. Often I'm surprised how quiet the levels were because I had my monitoring cranked right up.
I aim for about -1dB peak if not mastering... safe enough that lossy compression or bluetooth won't clip, but usually decently loud.
(on preview, I see we're pretty much on the same page)
I aim for about -1dB peak if not mastering... safe enough that lossy compression or bluetooth won't clip, but usually decently loud.
(on preview, I see we're pretty much on the same page)
I like the turn this thread has taken. I would love to hear about people's approaches to levels in recording vs posting. My approach for this month is just take whatever levels I'm getting in AUM on my iPad as I'm recording, and then turn things up in Logic as I like. I put a little compression on the 2 bus and call it a day. Aiming for peaks between -1 and -5. I don't want to overthink that part for this month but long term I'd rather have a more well thought through process.
Weds and yesterday The Drugs carved a violent path through my lower intestine. I lost pretty much the whole workday Weds doubled over, and Thurs I was just trying to keep it together enough to not get further behind.
But I'm back and looking forward to catching up on others' work. For today's jam I was going for similar vibe to some of the droning I've been doing, but with different gear. Instead of feedback and resonance, I just set up a patch on my Super 6 going through my Aftershock and then hit notes and twisted knobs instead of sequencing anything. I was trying to recreate the detuned oscillators beating with the 6's digital oscillators, so there's a gently modulated LFO going to tuning. I am contemplating a Mordax Data to get precise ratios for weird beating between pitches.
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PS thanks @monsterthompson !
Weds and yesterday The Drugs carved a violent path through my lower intestine. I lost pretty much the whole workday Weds doubled over, and Thurs I was just trying to keep it together enough to not get further behind.
But I'm back and looking forward to catching up on others' work. For today's jam I was going for similar vibe to some of the droning I've been doing, but with different gear. Instead of feedback and resonance, I just set up a patch on my Super 6 going through my Aftershock and then hit notes and twisted knobs instead of sequencing anything. I was trying to recreate the detuned oscillators beating with the 6's digital oscillators, so there's a gently modulated LFO going to tuning. I am contemplating a Mordax Data to get precise ratios for weird beating between pitches.
[This invalid link has been removed]
PS thanks @monsterthompson !
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Just a thought as I listen to your track, good work btw.
Since I like harmonics generated by notes rubbing against each other while sustaining (see Morton Feldman’s Triadic Memories for an example on long sustaind notes on piano with harmonics creating incredible colors, especially Sabine Liebner’s interpretation !!!)
Anyone of you drone dudes ever try (just a thought, im having my 1st coffee here still in fog state)
one oscillator in say 440 and one in 438? (or whatever tuning you want here, numbers are just an example)
just enough to create a certain dissonant rub/clash/movements in genrated harmnic content?
I personally really like the detuned oscillator thing you have going in recent tracks, it creates a mouvement in the drone that I find very refreshing)
my 2 pre coffee cents.
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I do this all the time with the Hydrasynth because it's so easy to fine tune each of the oscillators. The difference between 440 Hz and 438 Hz is about 8 cents. I'll often detune one of the oscillators by about that amount. Having multiple oscillators slightly detuned (whether intentionally or not) is not out of the ordinary.
With my modular, I couldn't tune the oscillators I have down to the cent even if I wanted to, so I'll do this pretty much any time I have more than one oscillator playing the same pitch.
The Volca Bass has three oscillators with a detune knob for each one. You can get some really fat sounds from it, but it's not novel. It's a sound I've heard on a lot of synth pop songs over the years.
