Re: Things you somehow just figured out NOW...
Posted: Tue Nov 14, 2017 12:18 am
Only just realised how fucking awesome Surreal Machines Modnetic is... fuck, serious mojo.
Underground Music Production / Network / Label
http://subsekt.com/forum/
The delay is nice but I use it more for the mod effects than anything. Not sure what exactly they modelled but they sound super authentic and shit on 99% of phaser/chorus/flanger plugins out there, they probably could have sold it for 30 bucks without the delay part.msl wrote:Only just realised how fucking awesome Surreal Machines Modnetic is... fuck, serious mojo.
Missed this one way back when.. I think everyone needs to have this approach. I may not have fully got it at the time either.
resampling is such a powerful tool that I discovered waaaaay late!Críoch wrote: ↑Sun Sep 23, 2018 1:19 pmMissed this one way back when.. I think everyone needs to have this approach. I may not have fully got it at the time either.
Anyway, It's not just kicks.. It's useful on pretty much anything. To add fullness, movement & character.
Processing.. resampling.. re-processing.. resampling.. Can make some amazing, thick, powerfully interesting sounds, which cannot be made any other way.
Reese mentality.
I'm always trying to do more resampling because it definitely gives you access to sounds/textures that are impossible to achieve otherwise but find that it often significantly slows my workflow down. I always start out working with MIDI and when bouncing to audio you lose all the modulation, knob-tweaking etc. options, so you basically have to record a large chunk with all the knob tweaking / modulation that you want, which can take up a lot of time if you have to do it multiple times. I guess this is a normal workflow for people that have a lot of hardware but coming from a pure MIDI ITB workflow, where you never have to bounce or record anything if you don't want to, it just seems infinitely slow.Críoch wrote: ↑Sun Sep 23, 2018 1:19 pmMissed this one way back when.. I think everyone needs to have this approach. I may not have fully got it at the time either.
Anyway, It's not just kicks.. It's useful on pretty much anything. To add fullness, movement & character.
Processing.. resampling.. re-processing.. resampling.. Can make some amazing, thick, powerfully interesting sounds, which cannot be made any other way.
Reese mentality.
I think it was Paula Temple, who recently said that she works in ways of three - one day is purely sound design, which all are recorded, then one day is focusing on melodies and grooves, and then one day on arranging. I have tried to do this, and I think it works quite well, because it divides the process. I write this because I too have often felt slowed down by resampling and shit. But if it is the goal, then it does not feels like slowing down, and then when you work on another goal the next session, the sampledelica is already done, so it is a finished factor, which does not slow you down any longerdubdub wrote: ↑Sun Sep 23, 2018 2:21 pmI'm always trying to do more resampling because it definitely gives you access to sounds/textures that are impossible to achieve otherwise but find that it often significantly slows my workflow down. I always start out working with MIDI and when bouncing to audio you lose all the modulation, knob-tweaking etc. options, so you basically have to record a large chunk with all the knob tweaking / modulation that you want, which can take up a lot of time if you have to do it multiple times. I guess this is a normal workflow for people that have a lot of hardware but coming from a pure MIDI ITB workflow, where you never have to bounce or record anything if you don't want to, it just seems infinitely slow.Críoch wrote: ↑Sun Sep 23, 2018 1:19 pmMissed this one way back when.. I think everyone needs to have this approach. I may not have fully got it at the time either.
Anyway, It's not just kicks.. It's useful on pretty much anything. To add fullness, movement & character.
Processing.. resampling.. re-processing.. resampling.. Can make some amazing, thick, powerfully interesting sounds, which cannot be made any other way.
Reese mentality.
I do record small bits to resample though but those are more like added fodder, they don't make up the main elements of the track.
Interest piqued.Lost to the Void wrote: ↑Mon Sep 24, 2018 12:08 amI'm making a fair bit of jungle and drum and bass at the moment.
And I only just learned how to make Neuro style basslines.
At least specifically, I knew the various techniques in other applications, but never really in a bassline Reese Neuro context.
Now I know how to do it right, I'm trying to work out how to subvert it and do it wrong.
We were talking about this for some reason on a different thread. Glad you've seen the light. Older DnB really teaches you what is possible with a sampler, a goal, skills, and time. You can get textures from resampling that you can't get any other way.Lost to the Void wrote: ↑Mon Sep 24, 2018 12:08 amI'm making a fair bit of jungle and drum and bass at the moment.
And I only just learned how to make Neuro style basslines.
At least specifically, I knew the various techniques in other applications, but never really in a bassline Reese Neuro context.
Now I know how to do it right, I'm trying to work out how to subvert it and do it wrong.
That's a great idea. Will try tonight.Planar wrote: ↑Mon Sep 24, 2018 11:25 amInterest piqued.Lost to the Void wrote: ↑Mon Sep 24, 2018 12:08 amI'm making a fair bit of jungle and drum and bass at the moment.
And I only just learned how to make Neuro style basslines.
At least specifically, I knew the various techniques in other applications, but never really in a bassline Reese Neuro context.
Now I know how to do it right, I'm trying to work out how to subvert it and do it wrong.
Super secret technique- throw your reese bass into a granular sampler. Don't tell anyone I told you though.
nomadjames wrote: ↑Wed Sep 26, 2018 3:38 pmWe were talking about this for some reason on a different thread. Glad you've seen the light. Older DnB really teaches you what is possible with a sampler, a goal, skills, and time. You can get textures from resampling that you can't get any other way.Lost to the Void wrote: ↑Mon Sep 24, 2018 12:08 amI'm making a fair bit of jungle and drum and bass at the moment.
And I only just learned how to make Neuro style basslines.
At least specifically, I knew the various techniques in other applications, but never really in a bassline Reese Neuro context.
Now I know how to do it right, I'm trying to work out how to subvert it and do it wrong.
If you anyone in here is really interested in it, head over to The Grid on Dogsonacid.com, go back to about 2003, and start reading about EMUs...Or you can read the "Threads of Interest" sticky at the top. There is such a crazy amount of knowledge on that site.h