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for purposes of TLDR i've set the needle drop to a little under six minutes in. some lead-in fumble, and then you're hearing a bassline made purely from feeding a korg monotron (delay edition (delay edition back on itself. eventually i get bored of it, and a bit after seven minutes in, there's a totally different feedback bassline there. you can guide/sculpt these things by manipulating EQ as part of the feedback loop (more bass, less treble etc) and then by eight minutes it sounds pretty chris clark, then some noise aphex used on analogue bubblebath anyways, laptops are much easier, what plugins will do all this for me? thanks |
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i guess its trial and error, just try as many as you can, thats what im planning to do anyway, i'll let yuou know if i get anywhere |
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i think you're onto something, because i've heard that computers see things like this: five volts is 1. zero volts is 0. everything else is error and error gets quantized to 0 or 1. perhaps i could switch this feature off? it's pretty clear my basslines are made from amplifying the error in my amplifiers. |
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its weird how good bass sounds haven't been reproduced in plugins for the most part yet, as when you listen to a reproductive digital file of a track with analogue instruments the sound is great, so you would think its a matter of going back and reconstructing the timbre from freqency analysis to get the same sounds, but it doesnt seem like that works for some reason |
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i'd use a sampler for that if i were you |
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i know what your saying,it never sounds quite right does it it though, oh well probably good enough for what im doing and better than most vsts |
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id also be interesting in knowed to know this: which vst plugins did normal cook sample on his fatboy songs? thampks, eMT |
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I hardly know anything about how to do interesting things with tones, like all the typical effects you hear on a tone, I don't know what's happening on the micro level. Maybe a sine wav morphing into a square/saw etc. I read maybe it's called "overtones" like to make a violin sound like a piano you add or remove overtones (which are simply other keys of the same sine wav playing at once) like not just a c-5 but simultaneously play a c5/d/5/etc, but prob hav c5 the loudest. DFJOPI anyway, I don't get hardware stuff like that, I'm too poor to have ever used any of it. How the hell do you know what does what, too many knobs like a 747 cockpit. So that's my useless reply. |
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the (delay edition (delay edition can be had for a braingarn shop udder twenty quid. at that price, it's ununaffordable. poorhadable it accepts audio input and has a headphone output. there's a delay circuit (delay circuit) in there that holds a small imaginary tape delay unit (tape delay unit). the delay (delay) has feedback (feedback[feedback and if you crank that up, it will keep churning around whatever audio you feed into it forever. well, no, not forever, it slowly turns into a moshbodge of noise and static and churn. this in and of itself is pretty cool. with the speed/duration you can do things like record a click and expand it into cccclllliiiccck. it is fuzzy and crappy. ununaffordable. practically poorhadable my mixer is in between the monotron output and the monotron input. the mixer can be used to do the same thing as the monotron's internal feedback loop (the monotron's internal feedback loop). the mixer will happily rocket way past the tame amount of feedback available into the monotron, blast everything into the red, distort, clip, get mom angry, etc each channel strip has EQ -- equivalent to putting a filter into the feedback loop between the mixer and the monotron. with just monotron, EQ, mixer feedback, i can get a bassline going. it is more or less a churning mess of unexpected intolerables that would severely annoy whoever designed any of these noisemakers. it is incredibly unpredictable yet controllable. ununaffordable. absolutely not unpoorhadable. it's sort of like japanese ink painting with the inherent error in the machinery |
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fatboy had two akai s950s with analogue filters! sequenced by an atari st |
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the mixer's internal delay does not allow the user to set the level of feedback (that was too expensive for this model). it is hardwired to a very small amount of feedback. it is still a delay, though (delay, though and what if we put a delay into a delay? super! the mixer's aux send knobs allow me to control how much of what goes into the inputs to both the mixer delay (mixer delay) and the monotron delay (monotron delay). the grunge from the audio will bounce back and forth between them quite satisfyingly. analorg: a slllliight bit of monotron output goes into mixer delay input. a huge amount of the mixer delay output goes back into the monotron. by aimlessly fussing around with the subtleties of how much of what goes into where you eventually stumble into something kinda cool, and at that point you move on to carefully fussing about with making something kinda cool you stumbled into something owsum you sculpted out of the aforementioned. feedback loops that have been developed over time can get rather intricate and i generally have no idea exactly what's going on myself. i just listen carefully and try to coax fings out of the wall warts |
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in which i took a moment to try and demonstrate. then i took 1.5 0 - 1min ~ goblin box, mixer delay, mixer feedback 1 - 2.5min ~ korglie monotron, mixer delay, mixer feedback 2.5+ ~ engage yamaha's "ibiza" preset; begin aimlessly fussing around TLDR: aux #0 - "the white knob every channel has (above the red knob every channel has)" -- mixer internal fx. hallverb, shaniqua echo. i generally set it to one of the better delay fx (delay fx) and forget about it, but there are times the fire will take me and i'll sweep the effect selection knob urgently, like a man trying to use the radio tuner dial to shake a gorilla off his car roof. this generates fragments of aborted delay (deland hallverb instead of just delay (just delay). turning the white knob up results in more of whatever's sounding on that channel going into the mixer delay (going into the mixer delay). aux #2 ~ "the blue knob every channel has (above the white knob every channel has)" -- "send this amount of the noises on this channel to the monotron." aux #1 "the blue knob every channel has (above the blue knob every channel has [above the white knob every channel has])" -- "send this amount of the noises on this channel to the goblin box." channels (lit) are, left to right: one (1) mic, one (1) yamaha set to "ibiza" style, one (1) failed kickerstarter prototype, one (1) ununaffordable korgilie, and finally, one (1) channel of whatever the mixer's internal delay is putting out (is putting out [out]). |
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have you tried supercollider? stevemcqueen uses it |
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i can't afford a mac. |
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it's on pc now and works really well |
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oh! ok. will supercollider emulate the famous portasound "ibiza" style, or do i need the norman 950 for that? where is the menu to control my roommates wandering into the soundscape? my current solution is to just throw a pg-58 somewhere noninconvenient and leave it down down down until the moments when noise not from my noise table (external to my noise floor [not from my nose hair]). if you can't beat 'em, conjoin 'em. there is something suitable about catching bits of a noise table saw in the basetooter [fffvvvHHHRRR!!1] and having it echo around my semi-accidentally coherent feedback network ofvv networkVVrr ovvvVVrr VVRRRrrrRrr rrt q spurt i came close to pulling this off with cubase sx once, but i ran out of cpu |
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bootnote: the shure pg-58 is the morepoorable version of the shure sm-58. |
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yes/no |
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it's important to turn the amp up loud. why? so many reasons... but, apropos supercollider: as a supercollider fan and knowing-people-who-use-supercollider-expert, how would you make the switch from a system in which the client's subwoofer is discovered to pull so much juice it begins to effect [the crappy wall warts powering circuit-bent casios] which begins to effect [the way particular bend settings mess with the autoriddim's drum sounds] and the client demanded this power curiosity be retained if he is to use poopercollider? i'm not sure if my setup has this feature, yet. i tried to get a leg-up by using an unfiltered, unrackmountable power non-conditioner: a non-grounded three-prong extension cord selected for its "from the garage" aesthetic. this is real, though: back when i had an 800w subwoofer, though, i realized i could nudge a bent casio into dropping spazzy glitch fills if i hammered hard enough at the bass bottoms. these two things fit together naturally a mark bellfo trdack playing out that 800w suberwoofer (sold on ebay to buy peanut butter) and it pulls the fuckin' watts. i have two anorak-grade ccd cameras (sony xc-999, iirc) of identical make/mod connected to the same video input. the two cameras fight each other for the capture card's attention, beating each other with their sync frequencies. as the bell bottoms, the capture card nudges back and forth between camera signals but there's really a lot more than just that going on. if you understand what i'm going on about you understand what i'm going on about |
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pro/advantage to analog synths: pandora down the hall puts on a track (supergrass) that's slickly beatmatched to the yamaha. however, i do not know this. the yamaha is muted. i aimlessly wander over to it for no particular reason and mash up the fader. now i know this: context: these are in sync. as soon as i've processed this context, my roommate begins whistling in tune. i hastily throw my pg-58 onto the sofa and capture wisps of it to shred through machines. dreamy and ambient with edges of a robot phone menu under seredipitious supergrass whistle. con/disadvantage to analog synths: i am jamming. it's owsum. the same roommate walks up and starts talking to me about cigarettes. it explodes my concentration. i try to recover by yelling "cigarettes" into the mic in various ways (to shred through machines) but i was unable to recover i am eager to see if either or both of those recordings were crap. also curious to know how this stacks up with supergrassifier |
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with this sort of approach to intelligent electroacoustic braindance, little nuanced pokes at knobs trigger spiraling explosions. i tried adding the casio sk-1 to this setup; this decision was noep. i found the sk-1 distracting: keep it simple sampler with this sort of approach to intelligent electroacoustic braindance, consequences that are the consequences of previous consequences have consequences of consequences and then aux1 sends consequences back into the analog domain... with this sort of approach to intelligent electroacoustic braindance, it changes your brain forever. glue fires off a small grenade of computation exploring all concepts you associate with glue, along with gluing in a new memory about corny glueball jokes by epicgigaglue. |
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i wrote intelligent electroacoustic braindance when i meant to type electroacoustic intelligent braindance. at least, i'm pretty sure that's what i meant to type, as [this] sound system clearly sounds superior to [that] sound system, and the wat's that sound system clearly has the superior system of all the sound system. just listem |
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i drive a riced out yugo geoff is the king of the yugo if he designed me a BBD delay banana jack circuit id mass produce it in china in 1U racks and be a rich man with a chinese fan |
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i can't afnord a modular that does units. |
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the way i write xltronic posts bears systemic relevance to the way fractals of painful noise emerge from the wat's that sound system. the wattest system around system |
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i have a system. i call it "the system." my live instance of "the system" is referred to as "my system." your live instance of "the system" is known as "your system." obviously, which system is my system and which system is your system depends on which system is the wat's that sound system system tem temmmMRRRRPPPAAAAAdfkljghtrf8ghuijbmkfart |
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fatboy slim musicradar interview i would have enjoyed this interview much more if i'd actually been able to read it. they wanted one quid, and i only recognize dollars. |
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Can you believe there's a word "cockpit"? A pit for a cock. What happens is throughout history you have occasional geniuses that are essentially like a new more advanced species, to the rest of his peers as we are to chimps. They regard this whole primate culture an absurdity and they become trolls, like aphex twin or nikola tesla. They look at this ridiculous primate symbol language that scaffolds a sizable portion of this culture and inject words like "cockpit" into the language brew. Now they have people on live television saying "cock pit", like it's a normal part of culture. How do you get all these other chimps to say "dickhole" a bunch of times? Well you have to be creative, just a little side project for a genius troll. |
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sound onsoundpraqise you much better. legible without foreign currency -- something i value in an internet article "But, as I said, before, I sort of come to a standstill when I try to get the laptop to talk to the outside world. I get frustrated and then... themoment's gone. I switch everything off and go into the kitchen to make a cup of tea. "I'm going to have to bite the bullet at some point. I know I'm going to have to sit here and make a tune in Ableton. It'll be good therapy for me." my analogy for this feeling is one of those science fishtanks with glove condoms to protect you from any chance of risking direct, sweaty contact with your music --- of max martin's assistants working on britney's next hit-me-a-sphere. his other mistakes about how comments make it more and louder also resonated my filter i would love the opportunity to bother him with questions about workflow: what's the process with that old setup? what can the old setup do that you can't quite coax out of the new one? tactfully-selected, open-ended questions intended to trigger rambling answers about the fatboy slim system system tem temtemTemTemSysTEMSysTEMeeeEmiabiabiabia! pizza! pizza! it's so easy to get acid, you can sample it anywhere |
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Now they have people on live television saying "cock pit", like it's a normal part of culture. How do you get all these other chimps to say "dickhole" a bunch of times? Well you have to be creative, just a little side project for a genius troll. cockpit is culture. cakefart is troll. HAND |
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debugging on the wall debugging system includes harassing uncooperative patch cables and having a frustrating but ultimately successful conversation with roommates about not talking about cigarettes about the time about the time delay jam delay jams really jams up the twerks |
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Interesting since I'm totally unfamiliar with music hardware, just software. My guess the yellow lights control the "parts" of a song (like maybe this yellow for snare drum beat, this other yellow to turn off/on cymbol beat etc) then the grey bars below are volume for each part? I don't get why the beat fades out at the end, are you editing a whole mp3/wav type object on the fly or are they infinite loops for each part? I probably need to read a lot of crap to figure out how to program weird mutating noise type effects into software, stuff like vocoders etc. |
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that's a lol, really. usually the yellow lights are "on/off" for the whole channel, but the stereo buss is bussted and so the button that's effectively on/off is tiny and impossible to see. i simply switched all the irrelevant yellow lights on so it was clear which channels were in use. this is mostly for me (seeing out of the corner of my eye) but i figured it'd also help anyone trying to figure things out more carefully. anyways, i'll try again: put a microphone up to a speaker. it goes whhEEE! yes? next, feed a mixer channel back into itself. it goes wheEEEEEGHHh, with the EEGHHh being distortion. from there you can use EQ to get whuUUUUUAUGHHh or whiiiEEEeelllghhrrrn or whatever. next, add a delay effect, and i stop being able to continue onomatapoeing without spending 45 minutes thinking about it. this is more or less what a delay effect is supposed to delay to delay effect is supposed to to to do it is pretty much music made from feedback and distortion. one feedback loop bumps into another, they all cascade and ripple around. two delay effects give me a stretchable bit of time to play around with that this is what allows it to move from tones and squeal to riddim it is more or less a closed system of mixer knobs and delay effects. into this, a little dash of yamaha portasound is fed in. the frequencies effect all the existing feedback loops in unfathomable ways and then the whole mess begins to bounce around and pump out brutal acid. is there a sunvox plugin to do this? |
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for iphone irrelevant yellow lights: mic, portasound left, portasound right, goblin box, korglie monotron, mixer fx out |
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today has been unpleasant. i have had problems getting even five minutes uninterrupted to do anything and have gradually fukt4g0-oetetr9iog. people think i can exercise fine if they ask me questions, tell me to look at this shit in skyrim, ask me if i want to go out for a cigarette... ditto for jamming. mostly, though, "i need to be alone guys or i will fucking flip" is not really something i seemed to be able to express adequately. understanding comes from experience, i suppose, and today i woke up and punched a hole in the wall. screaming to no one in particular. i can't recall having done either since i've moved here before, really, but i suppose i was just tired of being saturated by the rhythms of others and unable to stew in my own for long enough to maintain a coherent state of mind. i can say something like this, and a couple people will nod and say something sympathetic, but i have to live with this shit. my coping mechanisms are: exercise, driving, internet, and music. in that order (like the four most-used [love, secret, sex, peter molyneux]). continuing on: i wake up and feel like a caged animal. trapped. lashing out at anything that even thinks about restricting anything i'm even thinking about thinking about doing. hit it. hit. HIT. the wall. ow. for a moment, things seem to settle down: not bad. my punch has really heavied up since the time i did that a few years ago then the anger spikes up again. doing something incredibly stupid relieves it for but a few moments, and then i'm busy rejecting one after another stupid idea until i finally slip and let a screaming f-bomb loose in the shower. i am asked: "what's wrong? are you ok?" and it drives me bonkers. dudes, i've ranted about my personal issues until you called molyneux. i've been giving you daily status updates on me going bonkers they nodded. they seemed to understand. they didn't. they still don't, but perhaps they have a clue now |
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we're snowed in and i can't exercise or drive or do fucking anything and it's the most not-doing_anything-ness i've had in a long stream of 'em and dfgjdfgdfjg. people give up on what's wrong/ruok and move on to being mad at me for being in an acute state of emotional implosion. i smoke a j on the porch and have a tense argument with one roommate. then i went inside to record a jam. had snow all over me. wet shoes in this jam are likely the sounds of that guy shoveling angrily/curtly on the porch. my other roommate bothers me in the middle of the jam, asking if i want a cigaratte. or something. i managed to not lose the groove, this time, though. just waved him off and kept distorting. feeding back. loud. very loud then i tore it out and packed it up in boxes. then i cried. sobbed. it's like i saw my doglay get hit by a buss. at least i rinsed it for the time i had it rip . the wattest system around system |
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anyways, i'm looking for a VST plugin that sounds like my roommate angrily shoveling the porch; would appreciate recommendations |
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january is pretty miserable. hope u feel better soon |
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yeah hoping yr fighting bears and laughing strong with the gods soon man, sounds like yr in a dark ol molyneux loop right now but eat hot pockets and hot dogs (no buns allowed says eris) and be well my friend |
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lol sounds like a gypsy wedding party at some point |
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da da da da da da da da |
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very good |
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thanks guys. |
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may 2017 be the year of aneristic feedback loops |
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fact: aneristic feedback loops [apparent order (that creates apparent order)] are created by running a moment in time/space through a mechanism known as feedback. feeding feedback back into itself has rippling effects that ripple-effect on the effect of feedback, depending on the level of feedback the user selects to place between feedback and feedback. put simply, [the missile knows where it is (because the missile knows where it isn't)]. when the ghetto amp pulls the wat(t)s down as feedback blasts the bass, the ungrounded outlet the mixer and the amp share dip and wobble. the mixer begins to lose consciousness slightly, as blood-flow goes into the amp. this causes the bass the mixer is pumping into the amp to glitch. wiggle. wobble. atrophy.... until, since there's less bass, the mixer gets the current back, and the bass begins to get louder until it saps down the mixer again. then, perhaps, a roommate switches on a lamp, and that massively shifts the apparent order that my digital camera dutifully slices up into samples w M w could use to seed his function calls. i figure they would be primo sample kernels, at least, because they come from an ordered system hell-bent on ordering systems: irrelevant noise from electrical gremlins and cheapo TL084 op-amps form a japanese tea ceremony that is never the same twice. the apparent order comes from a guy at the knobs making decisions. these decisions are based on previous experience: well, that knob didn't go very well... let's try another! the more i jammed with this setup, the more i knew about the sweet spots. the interesting noises. what constitutes an "interesting noise" is subject to personal opinion. over time personal opinion guides approach. it starts to become a style: how do you get aphex sound? like, you know, that kinda moody acid? clark does it too. you know what i mean? no i no noe what you meano |
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here is which is a track about accidents, x-files episodes about accidents, and accidents in tracks about accidents. like this: 4'07 ~ first time i ever nailed that shuffly sort of crossfade motion. i did not intend to do this. it was an accident. i was just super into recording it, and my hands kind of found it naturally. this was one of the earliest proper jams i did on the mpc, at least using the same production process i used for all the albums i put out 2011-14. here is which is more or less me in an atari battlezone tank made out of disorted 808 noises. |
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what idiot made this thread |
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