Ambient/Post-Rock/Textural bass playing thread

[ugly_bassplayer]

Did another live gig last night with just the Syntakt and Octatrack. Dialed back a lot of the glitchy weirdness and did fairly conventional chill type stuff, though I liked a couple of the tunes. Have my setup situation to split the difference between ‘dependable’ patterns but left a lot of room to improvise. Funny and embarrassing to admit how much rehearsing I had to do to not screw everything up. The crowd were totally into and I got a great response, so I guess that’s good

Make them booties shake!!!

 

[TOOL460002]

Just messed around with my new Thermae and some ZOIA patches and other stuff. Two tracks and a noise thing.

Not bad for 5min of work:
Listen to Thermae - J1 - Cm - 115 - 4:4 by Tool460002 on #SoundCloud
[Invalid or Expired Link Removed]

 

[monsterthompson]

Finally realizing the importance of creating separate parallel effects sends/returns. I’ve generally run signal > delay > reverb. I started messing with running my euro rack synth into three mixer channels. One dry, one parallel delay set to full wet, and one parallel reverb set full wet, all running into unique channels in a mixer module where each of the levels can be set.

This isn’t groundbreaking stuff, but it just started to click for me. Plus I’m realizing I can modulate parameters of the delay and/or reverb separately without altering every aspect of the signal. If I get adventurous tomorrow I’ll consider routing the parallel wet signals through a VCA for automated level modulation.

Not sure how I’d do this with pedals (other than the Zoia), though I’d imagine this should be pretty simple in Ableton.

 

[ugly_bassplayer]

and now something short and stupid with red panda stuff (hence the silly name).

radius->raster2-> particle2-> context2-> tensor (the loop made of sounds i recorded from the other rp stuff)

knob fiddling, blend control via exp pedals.

Red Panda Express

Favorite Red Panda pedal??

 

[JES]

what can i say, it’s long and i worked pretty diligently on it since november (hence a lot of mg radio silence)

modular textures and drones, fake orchestra stuff (written and then rendered through the magic of samples and midi).

I took a listen. It's very modernist sounding (I like modernist so not a complaint) -- like you're a composer!

Just curious how you're writing your MIDI these days. Vector Sequencer? DAW? Playing in / improv?

 

[steubig]

Favorite Red Panda pedal??

re-exploring them. had thought about a selloff, but a lot of that was due to being sort of anti-pedal in my practice (not mindset).

delving into them, i find that i like them for different things and have assigned “roles” to them (or something like that).

so no favorites at this moment.

 

[steubig]

I took a listen. It's very modernist sounding (I like modernist so not a complaint) -- like you're a composer!

Just curious how you're writing your MIDI these days. Vector Sequencer? DAW? Playing in / improv?

thanks for listening. (very small “c” composer, if at all).

longwinded process debrief:
the midi/orchestra stuff all started as dorico notation files. when i got them where i wanted them, i’d convert to midi file and drop into ableton, and then do some tweaking in terms of velocity and volume. then i used a bunch of orchestral tools berlin series orchestra sounds plugin. i’d render those as wav files and then drop into the larger abelton piece file. it’s an odd process, but it allowed me to have slightly different tempos going against each and meant that i could revise and re-render the midi stuff if i needed. another benefit was not having cpu overload from 35 or so orchestral parts. i also did cutup/rearranging of those parts so there was thematic continuity in the variation.

i did use the vector for some textural sequenced stuff. a lot of that is having phasing going on (either tracks of different lengths or tracks with different note lengths in different parts that still had the same downbeat—okay that’s a confusing way to put it).

the rest is mostly big evolving drones that i programmed up and then let go, but often tweaking them as they went along so there was variation. and there was some live triggering of modular tone clusters that was semi-improvisational.

i guess there’s a lot going on in here.

 

[monsterthompson]

Looking like I'll be backstage crew for this night of performances.

https://www.highwaysperformance.org/events/evoke
This evening will feature elements of Ritual, nudity, sexuality, bloodletting, piercing, flesh hooks, noise and moving video projections that may be of concern to those with certain sensitivities.

Unfortunately, I won't be doing music for the event, but there should be some interesting acts. If you're in LA and like experimental art...
I'm looking forward to working with and seeing Operafication for the first time in ages.

 

[TOOL460002]

Finally realizing the importance of creating separate parallel effects sends/returns. I’ve generally run signal > delay > reverb. I started messing with running my euro rack synth into three mixer channels. One dry, one parallel delay set to full wet, and one parallel reverb set full wet, all running into unique channels in a mixer module where each of the levels can be set.

This isn’t groundbreaking stuff, but it just started to click for me. Plus I’m realizing I can modulate parameters of the delay and/or reverb separately without altering every aspect of the signal. If I get adventurous tomorrow I’ll consider routing the parallel wet signals through a VCA for automated level modulation.

Not sure how I’d do this with pedals (other than the Zoia), though I’d imagine this should be pretty simple in Ableton.

Ya any DAW should just be a couple clicks away. Easy-peasy.

As the current, loudest ZOIA fan boy, it is my duty to talk about using a send to time-based effects that is all high-passed. If all that is through a VCA then you can trigger that to sound with the envelope analysis module or the onset detector into ADSR (env also fun into ADSR). Fade it in based on playing.

The clock dividers helps a lot; you just need to pay attention to the input, because it can be anything from rate to tap tempo in the cv direct in and those all interact quite differently.

The ZOIA really lacks a good chorus. Well, a great chorus. It's usable, but only has one "model" to choose from.

My most recent fun has been having a 4 step (note out) sequencer being controlled by a 32 step (gate out) sequencer that gives patterns to playing those 4 notes. Clock dividers make this amazing. Also. All LFO's have that nifty phase rest feature.

 

[monsterthompson]

Ya any DAW should just be a couple clicks away. Easy-peasy.

As the current, loudest ZOIA fan boy, it is my duty to talk about using a send to time-based effects that is all high-passed. If all that is through a VCA then you can trigger that to sound with the envelope analysis module or the onset detector into ADSR (env also fun into ADSR). Fade it in based on playing.

The clock dividers helps a lot; you just need to pay attention to the input, because it can be anything from rate to tap tempo in the cv direct in and those all interact quite differently.

The ZOIA really lacks a good chorus. Well, a great chorus. It's usable, but only has one "model" to choose from.

My most recent fun has been having a 4 step (note out) sequencer being controlled by a 32 step (gate out) sequencer that gives patterns to playing those 4 notes. Clock dividers make this amazing. Also. All LFO's have that nifty phase rest feature.

Have you ever found a need for the 1 Buffer Delay module? I never ran into an issue of phase cancelation which was noticeable enough for me to feel like I needed to add a Buffer module to a patch. There isn't (or wasn't) a way to easily identify buffer lengths by module, so I never felt obligated to integrate this utility into my patches.

 

[TOOL460002]

Have you ever found a need for the 1 Buffer Delay module? I never ran into an issue of phase cancelation which was noticeable enough for me to feel like I needed to add a Buffer module to a patch. There isn't (or wasn't) a way to easily identify buffer lengths by module, so I never felt obligated to integrate this utility into my patches.

Not even once. If there is some funk/warble from, what? 1ms of delay? Using the delay line module you can go down to 2ms, which is technically comb filtering. I haven't found that static to be present when using modules. I have tried or used everything. Just not that one. Lol. I'm sure it helps some folks. I've watched YT videos where they say it is needed but maybe that's 100% poly synth stuff.

Now I'm in a weird place where I wanna dump my Blooper and, eh... I don't know... add another CB pedal? We are getting down to the Warped Vinyl to fill in on chorus or dumping cash on the Phaser or flanger, but I just don't want that. Gen Loss?

Famous last words: I'm running out of poopie.

 

[Starthief]

elements of Ritual, nudity, sexuality, bloodletting, piercing, flesh hooks, noise and moving video projections that may be of concern to those with certain sensitivities.

"But for me, it was Tuesday."

 

[monsterthompson]

"But for me, it was Tuesday."

Actually, Wednesdays were often my big nights out. Then Thursdays at work would look like a scene out of Fight Club.

 

[theunknowndude]

Looking like I'll be backstage crew for this night of performances.

https://www.highwaysperformance.org/events/evoke
This evening will feature elements of Ritual, nudity, sexuality, bloodletting, piercing, flesh hooks, noise and moving video projections that may be of concern to those with certain sensitivities.

Unfortunately, I won't be doing music for the event, but there should be some interesting acts. If you're in LA and like experimental art...
I'm looking forward to working with and seeing Operafication for the first time in ages.

Some of that I get after hanging around some goth / alternative clubs a bit but never knew bloodletting was a “thing” in this day and age…

 

[JES]

longwinded process debrief:
the midi/orchestra stuff all started as dorico notation files. when i got them where i wanted them, i’d convert to midi file and drop into ableton, and then do some tweaking in terms of velocity and volume. then i used a bunch of orchestral tools berlin series orchestra sounds plugin. i’d render those as wav files and then drop into the larger abelton piece file. it’s an odd process, but it allowed me to have slightly different tempos going against each and meant that i could revise and re-render the midi stuff if i needed. another benefit was not having cpu overload from 35 or so orchestral parts. i also did cutup/rearranging of those parts so there was thematic continuity in the variation.

i did use the vector for some textural sequenced stuff. a lot of that is having phasing going on (either tracks of different lengths or tracks with different note lengths in different parts that still had the same downbeat—okay that’s a confusing way to put it).

the rest is mostly big evolving drones that i programmed up and then let go, but often tweaking them as they went along so there was variation. and there was some live triggering of modular tone clusters that was semi-improvisational.

i guess there’s a lot going on in here.

It was totally evident from listening that there is a lot going on there! So with the dorico files, are you basically composing in your head and notating it, or doing it some other way?

A weird side effect of the concussion has been hearing melodies just come and go through my mind. I've been trying to work them out on piano or touch guitar but I'm not always able to.

 

[ugly_bassplayer]

thanks for listening. (very small “c” composer, if at all).

longwinded process debrief:
the midi/orchestra stuff all started as dorico notation files. when i got them where i wanted them, i’d convert to midi file and drop into ableton, and then do some tweaking in terms of velocity and volume. then i used a bunch of orchestral tools berlin series orchestra sounds plugin. i’d render those as wav files and then drop into the larger abelton piece file. it’s an odd process, but it allowed me to have slightly different tempos going against each and meant that i could revise and re-render the midi stuff if i needed. another benefit was not having cpu overload from 35 or so orchestral parts. i also did cutup/rearranging of those parts so there was thematic continuity in the variation.

i did use the vector for some textural sequenced stuff. a lot of that is having phasing going on (either tracks of different lengths or tracks with different note lengths in different parts that still had the same downbeat—okay that’s a confusing way to put it).

the rest is mostly big evolving drones that i programmed up and then let go, but often tweaking them as they went along so there was variation. and there was some live triggering of modular tone clusters that was semi-improvisational.

i guess there’s a lot going on in here.

You’re a patient man, that’s a freakn @;&(@;& load of midi programming.
(Tips hat in recognition)
Listened twice but fell asleep on it. I always listen to music before bedtime.
When I really concentrated on musical pieces I always fall asleep.
Some of my favourite albums of all time I’ve had to listen to starting half way in because Id pass out sleeping before the mid way mark.

Neurosis albums, yeah I’m looking at you !!!!!
Had to listen about 10 times before « getting it »

 

[steubig]

It was totally evident from listening that there is a lot going on there! So with the dorico files, are you basically composing in your head and notating it, or doing it some other way?

i don’t hear all the pitches; i hear the shapes and interactions, then i muddle about until i get something i like. some of this was consciously juxtaposing different harmonic or rhythmic ideas against each other in the same section, or taking different parts from sections and superimposing them.



QUOTE="JES, post: 28170492, member: 37282"]
A weird side effect of the concussion has been hearing melodies just come and go through my mind. I've been trying to work them out on piano or touch guitar but I'm not always able to.[/QUOTE]

wow. that’s a positive (i guess) byproduct. my modus operandi is to sketch the shapes on paper and then figure them out; meaning that the pitches might not always be perfectly correct, but the core impulse is there.

 

[steubig]

You’re a patient man, that’s a freakn @;&(@;& load of midi programming.
(Tips hat in recognition)
Listened twice but fell asleep on it. I always listen to music before bedtime.
When I really concentrated on musical pieces I always fall asleep.

well it’s long and is mezzo, with the second half having the bigger forte parts, and droney, so i get that.

patient, monomaniacal; potato, potahto.

it was the way i chose to do the project and i stuck with it—for good or bad.

 

[ugly_bassplayer]

patient, monomaniacal; potato, potahto.

Reminds me of the way I decided to make the solo bass album a made a while back.
In hindsight, it was not a the sane way go.

So I completely understand

 

[saltymonkey]

well it’s long and is mezzo, with the second half having the bigger forte parts, and droney, so i get that.

patient, monomaniacal; potato, potahto.

it was the way i chose to do the project and i stuck with it—for good or bad.

I loved it. I listened late the night you posted it through good headphones. I found it really soothing and kept thinking how the f@#k did he do that? Awesome.