ultimate money suck would be having a massive modular setup and a 24-track 2-inch tape setup (really preferable to have 48 tracks and two slaved together).
something to aspire to.
something to aspire to.
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
I do have a functioning Panasonic microcassette recorder. Guess I could do some lo fi stuff with it...
I got that 1/4 mono reel to reel, but I wanna flip it, because I really want 4-track 1/2 inch. But like you, I'm still learning sound design on three synths, as well as really dialing in my board tones like never before. Some of the sounds I've been getting out of the board lately sound like sounds that come out of my higher-end polysynths.
Yeah man. I go back and forth between my synths and my bass pedal rig. Hard to integrate the two in a live single take performance, too much gear to operate for one person lol. Maybe I should start an electronic band.
When my synth duo finally gets out there, I am going to try to bring the big board, it'll just be a circle of synths with the board closing the circle. Now that I have the Miezo 18, I can sling it over my back, not have the neck get in the way of things. The big thing now, though, is getting a good bank of sounds. I've been doing this for years, but now I'm starting to see how important the sonics are if I want to seamlessly integrate it into a bunch of polysynths.
If it's the same price as the tracks and has some cool features (none confirmed yet).
This is definitely "shut up and take my money" worthy .
I’m a fan.
Jaco only needed 4 blades.
But is it really a bass?
What’s the best metal for fan?
Why doesn’t it have MIDI?
Definitely fantastic!
Jaco only needed 4 blades.
But is it really a bass?
What’s the best metal for fan?
Why doesn’t it have MIDI?
Definitely fantastic!
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I started on Audiodesk when I bought the original MOTU 2408. I have cycled a few, but now it’s a horses for courses thing. I prefer Logic for mixing “band” type stuff. For electronic I prefer Live or (increasingly) Bitwig, which has better latency and delay compensation. ProTools is sadly sometimes a necessary evil.
I basically treat the whole thing as a 4-track on LSD, but I do use some soft synths, and I do like some plugins as well. For my granular and spectral stuff, I still haven’t found anything in hardware I like as much.
Since we're talking DAW's, I've mostly used Reaper and Ableton. Since I made the conscious decision to try to go dawless, I don't use Ableton anymore, just Reaper for recording. Although when I hear how perfect Martin Steurtzer's hardware synth stuff sequenced by Ableton comes out, it always has me second-guessing. I just hate using the laptop when playing live, it really breaks my flow, sometimes. Great for composing, though.
I never really chimed in on the thread about live music a few days ago. Had a lot going on (getting the camper ready, mountain biking to point of exhaustion, jamming, etc). Don't have too much to add that wasn't already said.
I will say this, or more accurately, will write this... I'm mostly a listener, not a watcher, at least of the electronic stuff I like; I really had no idea how much of it was so laptop-based. And how utterly boring it is to watch. Carbon Based Lifeforms is one of my faves, and when I finally got around to watching them and also some stuff from Lustmord... yep, just one or two people in front of a laptop with some nice visuals behind them. Yawn. I don't like them any less or respect them any less; it's how a lot of this music is done. I just don't really care about watching them.
Maybe it comes from playing a lot of funk and jazz, but dammit, if I'm in the room, the energy of the visual experience is so crucial, which is probably why I rarely watch stuff. When I go to shows, about half my attention is to checking out gear, technique, interaction and communication, and the playing, as opposed to just listening. It's been that way for me as long as I've been playing. I'll watch the hard synth guys like Rich, Steurtzer and Roach cuz there's a lot to see, especially from a tech and a learning standpoint, but I just can't get into watching someone just tweak a laptop. Reminds me of working in an office. Sure, if one of those acts was someplace I could see em, I'd go, but I just wouldn't get the things out of the performance that I usually get. I think that's why I'm so into hard synths. I want to be an act that I'd actually want to watch.
I never really chimed in on the thread about live music a few days ago. Had a lot going on (getting the camper ready, mountain biking to point of exhaustion, jamming, etc). Don't have too much to add that wasn't already said.
I will say this, or more accurately, will write this... I'm mostly a listener, not a watcher, at least of the electronic stuff I like; I really had no idea how much of it was so laptop-based. And how utterly boring it is to watch. Carbon Based Lifeforms is one of my faves, and when I finally got around to watching them and also some stuff from Lustmord... yep, just one or two people in front of a laptop with some nice visuals behind them. Yawn. I don't like them any less or respect them any less; it's how a lot of this music is done. I just don't really care about watching them.
Maybe it comes from playing a lot of funk and jazz, but dammit, if I'm in the room, the energy of the visual experience is so crucial, which is probably why I rarely watch stuff. When I go to shows, about half my attention is to checking out gear, technique, interaction and communication, and the playing, as opposed to just listening. It's been that way for me as long as I've been playing. I'll watch the hard synth guys like Rich, Steurtzer and Roach cuz there's a lot to see, especially from a tech and a learning standpoint, but I just can't get into watching someone just tweak a laptop. Reminds me of working in an office. Sure, if one of those acts was someplace I could see em, I'd go, but I just wouldn't get the things out of the performance that I usually get. I think that's why I'm so into hard synths. I want to be an act that I'd actually want to watch.
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Reaper's license is only something like 59 bucks, and it's good for two versions, too. It's got tons of features. Lots of great tutorials, it's worth a try. You can download for free, and it still works after the expire, just nags you when you start it up.
i have friends who swear by it as well.
money and time are the biggest obstacles right now. maybe in the fall, i’ve got a lot going in right now.
While I will occasionally argue that the real sweet spot is a pair of 2" 16-track decks slaved together, the fact is that no synchronization hardware was ever fast enough to make me wish I didn't just have a single machine. Plus the discipline of having to make everything fit onto only [sic] 24 tracks was one of those Benefits In Hindsight that we probably didn't appreciate until unlimited-track-count DAWs became commonplace.
So yeah, make mine a Studer A800 please. Just one, thank you. :::dancing banana:::
On a related note: Does anyone else agree that the rewind time of analog multitrack tape machines was an important and valuable component to pacing the workflow of a recording session? Nowadays that instantaneous "That take sucked, do it again GO!" pacing just kills the vibe imho. No chance to gather your thoughts, self-reflect, notice there's a booger on your G string, whatever. I genuinely liked that ~30 second respite after every take.
Yep, limitations spark creativity.
I effin hate machine gun studio techs.
Next, Next, again, again, punch, punch......
(Doesn't even tell where he started the recording, no count in.....)
I have one dude I particularly loath in town.
+2847493£44££3945 on a breather to gather your thoughts.
::sits alone in the corner with a sampler, 57 mic and portable 4 track::
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We reside on opposite sides of the sonic spectrum, yet here we are, bro...
I don’t see it as opposite sides, just different branches in the huge tree we all share.
So much good music, so little time.
