What’s Devi ever?
Hasn’t heard that name for ages since a few feuds back (2016 ish?) and you made me just go read 20 minutes of reddit that was just... wow... doesn’t seem business is Devi’s strength...
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
Hasn’t heard that name for ages since a few feuds back (2016 ish?) and you made me just go read 20 minutes of reddit that was just... wow... doesn’t seem business is Devi’s strength...
linnstrument experiment. four microtonal hydrasynth patches.layered improv not great art. just show and tell.
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Life Is Unfair pedals.
Based on these listings, it sure seems that way.
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Heck, the name is buried right on the website listings.
Dark Boost
From some googling, it might just be Devi’s name attached, and not actually Devi’s company.
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tbh, i never got the devi ever thing. to me it was ton of different fuzz pedals that always sounded the same in sound files.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Fired up my eurorack for the first time in months. Was fun to just make weird noises 
Fired up my eurorack for the first time in months. Was fun to just make weird noises
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excellent
I bought a few back in the day... like 2008ish... never played well with my active bass except the hyperion... hyperion was ok kind of a cross between muff and a noisy super fuzz... all the others I tried either had the active bloom decay thing issue or were just so noisy and unusable in a normal context. All of them have massive bass loss too, ended up running them through a ls2... anyway pretty much gave up and only semi followed for a few years til people got so mad about the Kickstarter project loss thing... then the dwarf craft thing... *shrugs*
How would you compare the creative work flow\process of the Linn vs the HS keyboard.
I believe they both have poly after touch?
Plus\minus of each approach ?
I vaguely remember hearing the name Devi Ever a while back, and this thread prompted me to do some looking up...
Wow, tons of drama, seems pretty radioactive. Stay away. Too many other pedal builders out there to risk your money.
Just as well, I find most fuzz pedals to be boring anyway. I am happy enough with my current dirt/fuzz collection.
Wow, tons of drama, seems pretty radioactive. Stay away. Too many other pedal builders out there to risk your money.
Just as well, I find most fuzz pedals to be boring anyway. I am happy enough with my current dirt/fuzz collection.
with the caveat that i'm really new to the linnstrument . . .
hs keyboard: piano/synth technique; internal sounds
hs desktop: 24 pads, you can set them up in different ways. i have them set up like a 3-string bass in fourths; internal sounds
both the keys and the pads are pat
ls: touch surface with 128 "pads." you can set them up in different ways. i have them set up like an 8-string bass in fourths; no internal sounds.
in mpe the ls's surface goes beyond pat in that it sends that information, but also sends *per note* y coordinate information and *per note* pitch bend, so you can bend one pitch while having another stay fixed or have two pitches bend in *different directions* and at different times.
on the ls you have three ways to deal with control a sound: down, horizontally and vertically.
on the hs you have one way: down (but see later about wheels and macro knobs)
to me the ls seems very touch sensitive (it does have different levels you can choose).
the example i put up has a few things going on: held notes where i'm slighting changing the pitch per note, y axis opening/closing a filter and changing delay time, and using pat to change some fm ratios, etc.
pros:
hs keyboard is really good if you want to play regular piano-tech chords and lines (though i'm extremely sub-par on this front). the pitch wheel and mod wheel can be programmed to control other parameters, so a two-hand technique can get a lot of control over sounds. the macro knobs are also amazing in terms of sound design/control.
hs desktop is great an expander or doubler of the keyboard version. the pads are cool on their own, but a bit limited; still they can do cool stuff. harder to think of chords on this for me. the macro knobs are also amazing in terms of sound design/control.
the ls is just a controller, but a brilliant one for me so far. since it responds well to gesture and player input, i find it pretty intuitive. haven't really delved in to the chord thing yet. there is a lot of depth that i haven't gotten into yet; i'm basically scratching the surface. it's doing what i thought i wanted to do with it. now i need to program hs sounds to respond to it.
the way i plan on using it is with the hs desktop in live situations.
Today in free...
Surrealistic MG-1 Plus
I actually had an MG-1, I did a partial resto on it and made a nice profit, fun little synth.
Surrealistic MG-1 Plus
I actually had an MG-1, I did a partial resto on it and made a nice profit, fun little synth.
I think the biggest reservation I have about grid type stuff like the LS is just memorizing what the hell my configs are. But I'm guessing if you come up with something you stick with that works for you, it gets easy.
i like using microtonal scales for sound clouds, in which case it's more about range, gesture and morphing.
i'm not going to be doing solos like a lot of people seem to want to do.
Makes perfect sense.
Hope it adds an effective new paint brush for you.
Yeah lifeisunfair is linked on devi ever's instagram. Either lifeisunfair is tdevi or the shop devi sells from. Looks to me like one in the same...a rebranding effort?
This is exactly right. The big thing is that preprogrammed sounds often sound weird with it because the approach to the Y axis (usually the mod wheel) is very different when it's a finger on a pad vs a, well, mod wheel. But it's much more fun for controlling synths.
But it was the first synth controller that "made sense" to me as someone with 1 semester of piano and decades of bass.
i tried to do it as the mod wheel, but in mpe mode, the hydra has a dedicated mod source of two mpe y and one mpe x options. when i figured that out, i was in good shape.
scale and chord shapes are like bass, so that’s cool. i’ve been shedding piano, so i’d like to have both.
i like the finger-painting aspect of the linnstrument.
Another very productive night, so far, as I tried something totally different.
As I've mentioned, I'm having so much progress in terms of getting my head around more complex sound design, since I got the Iridium. It's a combination of the touch screen, layout and it not being on a computer that really seems to do it.
Anyways, I made a pretty complex sequence pattern, polyrhythmic, lots of crazy stuff, different sounds bouncing around. And I got that Eventide Blackhole a few days ago. I run this crazy arp through an interesting setting on the Blackhole, then some Space Echo, and here we are. I tweaked both pedals through most of it as it went on, and it's interesting how the different things set a subtle change into a new direction. It's patient music, if that makes any sense.
There's something I really find appealing about spatial concepts in music that make certain elements of it sound far away in the distance, in a very 3d kind of way, which is what I like about Roach, because he's so good at it. The just-deceased Harold Budd did this really well in his pieces, too. This kind of thing reminds me of being in cold fog in the high peaks of mountains, at dusk.
As I've mentioned, I'm having so much progress in terms of getting my head around more complex sound design, since I got the Iridium. It's a combination of the touch screen, layout and it not being on a computer that really seems to do it.
Anyways, I made a pretty complex sequence pattern, polyrhythmic, lots of crazy stuff, different sounds bouncing around. And I got that Eventide Blackhole a few days ago. I run this crazy arp through an interesting setting on the Blackhole, then some Space Echo, and here we are. I tweaked both pedals through most of it as it went on, and it's interesting how the different things set a subtle change into a new direction. It's patient music, if that makes any sense.
There's something I really find appealing about spatial concepts in music that make certain elements of it sound far away in the distance, in a very 3d kind of way, which is what I like about Roach, because he's so good at it. The just-deceased Harold Budd did this really well in his pieces, too. This kind of thing reminds me of being in cold fog in the high peaks of mountains, at dusk.
