I'm gonna take that Willie Nelson and raise you a Miles Davis
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
Don't post around tonight
steubig’s bound to set you right
steubig’s bound to set you right
There's a dad joke on the right.
Here's my latest music-adjacent creation. There were some post production sound effects added by the video people, but the core of this was done by me and my good friend Matthew Setzer. This was produced using some Reaktor granular toys and some vocals through a modular rig. There is a part 2 coming with an appearance by the Soma Terra.
There's a press release for the project below. The project is based on an actual experience of being imprisoned by the Stasi in Germany. I won't say much about that in order to avoid getting into political waters on TB, though I doubt there's anything offensive or controversial here. However, I figured I should mention it in case anyone has sensitivity.
www.gvoon.de
There's a press release for the project below. The project is based on an actual experience of being imprisoned by the Stasi in Germany. I won't say much about that in order to avoid getting into political waters on TB, though I doubt there's anything offensive or controversial here. However, I figured I should mention it in case anyone has sensitivity.
051. Inside: Matthew Setzer and Adam Thompson; Hand, Gvoon Arthur Schmidt - From a black rubber cell of the Stasi in another place by Gvoon with Arthur Schmidt (Rec. 02.01 21.-22.12.2023)
Information on the video work "Hand" from a black rubber cell of the Stasi at another location by Gvoon with Arthur Schmidt. With sound work by Matthew Setzer and Adam Thompson. The black rubber cell of the Stasi exists in reality as room number 2 (detention cell, sedation room) in the basement...
www.gvoon.de
Very dark and cavernous! Sounds great. I think I hear a digital click shortly after 9:10 if that matters.
Here's my latest music-adjacent creation. There were some post production sound effects added by the video people, but the core of this was done by me and my good friend Matthew Setzer. This was produced using some Reaktor granular toys and some vocals through a modular rig. There is a part 2 coming with an appearance by the Soma Terra.
There's a press release for the project below. The project is based on an actual experience of being imprisoned by the Stasi in Germany. I won't say much about that in order to avoid getting into political waters on TB, though I doubt there's anything offensive or controversial here. However, I figured I should mention it in case anyone has sensitivity.
051. Inside: Matthew Setzer and Adam Thompson; Hand, Gvoon Arthur Schmidt - From a black rubber cell of the Stasi in another place by Gvoon with Arthur Schmidt (Rec. 02.01 21.-22.12.2023)
Information on the video work "Hand" from a black rubber cell of the Stasi at another location by Gvoon with Arthur Schmidt. With sound work by Matthew Setzer and Adam Thompson. The black rubber cell of the Stasi exists in reality as room number 2 (detention cell, sedation room) in the basement...
Good job
Very dark vibe in the Cryo Chamber vibe.
I dig
It was a big exercise in restraint. I had a bunch of concepts that got edited out along the way. They were just too busy for the video. The second video that’s coming is an extension of this with more moving parts.
There was a lot of discussion about what sounds should be considered in this “world” and then sound designing began. It was a great lesson in file management with Ableton. I took a big step forward with how I organized projects/sets/samples. It made the arranging and editing much more flexible and relatively speedy for an 11 minute behemoth.
I’ve never been imprisoned in a cell, but a lot of this concept of “inside” resonates with my experience working through severe physical trauma and being paralyzed in a hospital bed.
There was a lot of discussion about what sounds should be considered in this “world” and then sound designing began. It was a great lesson in file management with Ableton. I took a big step forward with how I organized projects/sets/samples. It made the arranging and editing much more flexible and relatively speedy for an 11 minute behemoth.
I’ve never been imprisoned in a cell, but a lot of this concept of “inside” resonates with my experience working through severe physical trauma and being paralyzed in a hospital bed.
TW - John Cage Content
99percentinvisible.org
As Slow As Possible - 99% Invisible
In February, everyone who went to a concert in the old medieval town of Halberstadt, Germany, showed up 23 years late. This is also concert from which everyone walks out early. The performance is of a piece called ORGAN2/ASLSP. ASLSP stands for “as slow as possible,” which is how the composer...
99percentinvisible.org
TW - John Cage Content
As Slow As Possible - 99% Invisible
In February, everyone who went to a concert in the old medieval town of Halberstadt, Germany, showed up 23 years late. This is also concert from which everyone walks out early. The performance is of a piece called ORGAN2/ASLSP. ASLSP stands for “as slow as possible,” which is how the composer...
Yeah saw the video of the launch of the project a few months ago.
Very cool conceptual art.
Gotta give credit where it’s due, John Cage is truly one of a kind.
Still my favourite of his works are the solo prepared piano pieces.
Truly original and beautiful
After years of encouragement from people in this very thread I’ve finally broken down and done it. Found a decent deal on a used one.
hope you like it. i think you’ll find the programing possibilities to be deep, but fairly intuitive.
if i can be of any (rudimentary) help, let me know.
Here's my latest music-adjacent creation. There were some post production sound effects added by the video people, but the core of this was done by me and my good friend Matthew Setzer. This was produced using some Reaktor granular toys and some vocals through a modular rig. There is a part 2 coming with an appearance by the Soma Terra.
There's a press release for the project below. The project is based on an actual experience of being imprisoned by the Stasi in Germany. I won't say much about that in order to avoid getting into political waters on TB, though I doubt there's anything offensive or controversial here. However, I figured I should mention it in case anyone has sensitivity.
051. Inside: Matthew Setzer and Adam Thompson; Hand, Gvoon Arthur Schmidt - From a black rubber cell of the Stasi in another place by Gvoon with Arthur Schmidt (Rec. 02.01 21.-22.12.2023)
Information on the video work "Hand" from a black rubber cell of the Stasi at another location by Gvoon with Arthur Schmidt. With sound work by Matthew Setzer and Adam Thompson. The black rubber cell of the Stasi exists in reality as room number 2 (detention cell, sedation room) in the basement...
That is great. And I'll second that it sounds at home on Cryo Chamber (which, to be clear, is a compliment from my perspective).
First go with the Hydrasynth this morning after breakfast.
I'm just learning my way around the interface. I decided to try and build a Verbos-style "harmonic oscillator" patch. I was surprised at how close I could get by adding a little distortion and playing with the depth parameters on the harmonic mutator with a saw patch. Adding FM in the first mutator slot gets more interesting harmonics.
Next up I decided to try my "use filter resonance to pick out harmonics" Radigue trick and it worked great. I do hear a frequency cap on resonance that's very unlike analog filters but that's not a huge deal.
It is clearly capable of monstrous low end.
I love the macros as a performance feature. Wish all hardware synths had that. I guess that's what the "modulation wheel" can do on a keyboard synth, but 8 of them is better.
Audio rates for LFOs and envelopes sound really really messy, so I guess the solution is "don't do that on the Hydrasynth"
I set the pads to 4ths so all my bass fingering are readily available when I don't have the Linnstrument plugged in.
Questions so far:
OMG there are so many presets. Do I just delete them all?
Is there a way to manually scrub through a custom step-LFO? That way I could use macros to "snap to" certain settings in a preset rather than just morphing through them.
I need to learn how to more quickly assign macros, and a few other basic quality of life things. I guess I'll suck it up and watch parts of a couple tutorials.
If you folks have things you do with every patch, or system settings you like or use to prevent screwing up, I'd love to hear about them. I'm just waiting to hit the wrong button or knob and lose a patch I'm working on.
I'm just learning my way around the interface. I decided to try and build a Verbos-style "harmonic oscillator" patch. I was surprised at how close I could get by adding a little distortion and playing with the depth parameters on the harmonic mutator with a saw patch. Adding FM in the first mutator slot gets more interesting harmonics.
Next up I decided to try my "use filter resonance to pick out harmonics" Radigue trick and it worked great. I do hear a frequency cap on resonance that's very unlike analog filters but that's not a huge deal.
It is clearly capable of monstrous low end.
I love the macros as a performance feature. Wish all hardware synths had that. I guess that's what the "modulation wheel" can do on a keyboard synth, but 8 of them is better.
Audio rates for LFOs and envelopes sound really really messy, so I guess the solution is "don't do that on the Hydrasynth"
I set the pads to 4ths so all my bass fingering are readily available when I don't have the Linnstrument plugged in.
Questions so far:
OMG there are so many presets. Do I just delete them all?
Is there a way to manually scrub through a custom step-LFO? That way I could use macros to "snap to" certain settings in a preset rather than just morphing through them.
I need to learn how to more quickly assign macros, and a few other basic quality of life things. I guess I'll suck it up and watch parts of a couple tutorials.
If you folks have things you do with every patch, or system settings you like or use to prevent screwing up, I'd love to hear about them. I'm just waiting to hit the wrong button or knob and lose a patch I'm working on.
