btw, i was watching a bit of the vid for the new elektron device. seems like everyone who does a pedal/synth vid these days has to have little knickknacks on the table a la knobs. kinda funny.
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
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Lots of flowery language on the page. The summary is:
Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too.
Lots of flowery language on the page. The summary is:
Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too.
But can it sample in stereo??Invalid Link Removed
Lots of flowery language on the page. The summary is:
Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too.
I'm still learning how to get COSMOS to not just do its own thing, but I've already found a few ways to have it produce angular, abrasive, anything-but-droney/ambient/"meditative" colors.
The trick is you have to constantly engage with it; if you just let it do its own thing -- i.e., hit Record, play something, then step back and let it go -- yeah, it will almost always steer itself towards “drone ambient” textures. (Although I'm quickly starting to favor the Granular algorithm specifically because it skews more towards glitchy than meditative.)
But if you hit Record, play something, then start actively screwing around with stuff -- e.g., engage the destructive filters intermittantly, give Blur a few twists, alternate between Suppression and Compression as you are adding bits of new material, tap dance on the Erase footswitch (thank you @JES for pointing out how that Erase function works) you can very easily cobble together a non-static mechanical steampunk cacophony that is decidedly not drone-y or ambient in any sense of the word.
But then it's also very easy to choose whether ^^^that then devolves into something even more angular, or dissolves into something that then could (eventually) become a relaxing background drone.
Pretty effing cool.
edit: I'm still not sure if it ever doesn't "evolve" ...i.e., I'm not sure there's a way you can freeze the loop(s) so they no longer change (at least not when using the standard firmware). But that's why I have a Blooper connected to the COSMOS
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isnt blooper + cosmos cheating.?I'm still learning how to get COSMOS to not just do its own thing, but I've already found a few ways to have it produce angular, abrasive, anything-but-droney/ambient/"meditative" colors.
The trick is you have to constantly engage with it; if you just let it do its own thing -- i.e., hit Record, play something, then step back and let it go -- yeah, it will almost always steer itself towards “drone ambient” textures. (Although I'm quickly starting to favor the Granular algorithm specifically because it skews more towards glitchy than meditative.)
But if you hit Record, play something, then start actively screwing around with stuff -- e.g., engage the destructive filters, give Blur a few twists, alternate between Suppression and Compression while adding bits of new material, tap dance on the Erase footswitch (thank you @JES for pointing out how that Erase function works) you can very easily cobble together a non-static mechanical steampunk cacophony that is decidedly not drone-y or ambient in any sense of the word.
But then it's also very easy to choose whether ^^^that then devolves into something even more angular, or dissolves into something that then could (eventually) become a relaxing background drone.
Pretty effing cool.
edit: I'm still not sure if it ever doesn't "evolve" ...i.e., I'm not sure there's a way you can freeze the loop(s) so they no longer change (at least not when using the standard firmware). But that's why I have a Blooper connected to the COSMOS
When they're both wired up to separate channels of a Klein Bottle so that I can toss material from the COSMOS into Blooper or from the Blooper into COSMOS ...then yes, definitely cheating.
I'm still learning how to get COSMOS to not just do its own thing, but I've already found a few ways to have it produce angular, abrasive, anything-but-droney/ambient/"meditative" colors.
The trick is you have to constantly engage with it; if you just let it do its own thing -- i.e., hit Record, play something, then step back and let it go -- yeah, it will almost always steer itself towards “drone ambient” textures. (Although I'm quickly starting to favor the Granular algorithm specifically because it skews more towards glitchy than meditative.)
But if you hit Record, play something, then start actively screwing around with stuff -- e.g., engage the destructive filters intermittantly, give Blur a few twists, alternate between Suppression and Compression as you are adding bits of new material, tap dance on the Erase footswitch (thank you @JES for pointing out how that Erase function works) you can very easily cobble together a non-static mechanical steampunk cacophony that is decidedly not drone-y or ambient in any sense of the word.
But then it's also very easy to choose whether ^^^that then devolves into something even more angular, or dissolves into something that then could (eventually) become a relaxing background drone.
Pretty effing cool.
edit: I'm still not sure if it ever doesn't "evolve" ...i.e., I'm not sure there's a way you can freeze the loop(s) so they no longer change (at least not when using the standard firmware). But that's why I have a Blooper connected to the COSMOS
Every time I read about the COSMOS it just makes me gas ever harder lol. One day...
If I get the high score will it matter?
Here's an isolated Cosmos track from something I did while sick this week. I'm NOT messing with it here because I'm busy making synth sounds on other tracks that aren't included, mostly because I think they suck but I like the Super 6 patch that I'm running through the Cosmos and will probably do something with that if I can recreate it. You can hear it's not just a slushy drone, it's more like set of drifting delays, just like the ad says: Dropbox - CosmosDrone.mp3 - Simplify your life This is on the 4-delay setting, I think.
I'm with Bob, though. If you mess with it, you can get it to do other things. It's sort of like a cat that wants to make Frippertronics. It's highly motivated but you can distract it for as long as you like. I have been using it more like "sauce" and ambience in my recent experiments, though. I also wrote to them to say the granular mode was amazing but it would be nice to be able to scrub and do a couple other things. Even as it is, it's the first granular hardware effect I've really gelled with.
PS -- not excited about syntakt. Wish I was. Also wish that TE thing was not $1100 and twice the size.
Wow, how “inconvenient”.
It makes my life easier how???
Ahhh, making my wallet lighter, got it.
Well. If you’re running the PO and OP platforms, then they’re natively 3.5 mm. There’s plenty of gear out there that doesn’t have/need XLR. It’s pretty “on brand” with them. I mean, what would the point be for having an XLR connection on a handheld battery powered mixer? 25% of the device would be accommodating that socket.
Your point being??
(Troller coaster here we come)
That this is clearly not a product for your needs and interests
I could see a few use cases for it, but I certainly don’t need it for what I’m doing… yet.
That little mixer might be useful for my portable battery-powered Volca-heavy setup.
For 1100 $ that thing better have integrated “guaranteed banger” and “groupie” fx integration.
For $549 the 1010 Bluebox Mixer seems like a better deal. Plus it uses an external power brick, so at least that can be replaced when/if it fails.
