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 (nobody)...and 67 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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micro-rhythm |
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vinegar strokes |
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aphex's gating is something to behold, but it's all automated with cirkloin. a human ear going through and doing funky little edits is sorely missed. i feel like if i sit here by hand, rip off his gating, then it'll come out a bit more aaron funky because i'm using a tracker |
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isnt the cirklons method of sequencing akin to a hardware tracker? |
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i dont know im just asking if it is |
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i really have no idea how that thing works |
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pattern editor here, |
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its similar enough yeah to a tracker i reckon, its why it sounds really tight on the tracks that are made with it, |
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I dont know what the benefit of using one rather than a sequencer on a computer, I guess its more hands on and you could start making stuff really quick |
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standard tracker length is 0x40 steps per pattern, on a box like that, you're thinking in 0x10, limits the resolution of the funk strobe you can pull off |
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didn't he have one of those octopus sequencers instead tho? |
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i think it can change the step lengths, looks like it can go up to length of 64 unless that quantising it or something else |
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octopus synth? |
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hey epics was it you who was circuit bending stuff? |
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yes, it was me, and no one else |
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the genoQs ocktopuss |
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it’s a xox sequencer |
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did you get any good results? |
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yes. |
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>> standard tracker length is 0x40 steps per pattern, on a box >> like that, you're thinking in 0x10, limits the resolution of >> the funk strobe you can pull off yeh but all x0x's were 16 buttons though? and people still do triplets and different timesigs on them. you're underestimating your brain! if you want an 'exact representation' of what's playing then best stick to software. Pencil and paper for writing down patterns is underrated too |
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why put myself through all those mental gymnastics when a more efficient interface simply lets me get on with doing things my ears like? yeah, this does come down to hardware vs. software, but not in the usual way. step sequencers and all that are a lot of fun. they are quick and satisfying. but it feels like i have to go to some sort of computerized sequencer to go "off the grid" in a way that doesn't require turning my brain into a pretzel slash rewriting the whole song as a man with a pretzel brain would write it so when you play it back to a normal person the stuff that sounds pretzeled to you sounds normal to them and where was i? oh, yes. in piano roll software (cubase etc) you can turn off snap-to and drag notes off the grid. since you aren't confined to sixteen steps, you can start a few notes off-time, then off-time future notes based on those, and it kind of builds into an organic roll that would be massively hard to sit there and translate to a 16-step grid. i am aware it's all on the grid, in a sense. the MPC was 96ppq. back when i had one, i'd sit there arguing with myself about whether .21 or .22 sounded more pleasantly funky. i find myself having the same debates with the tracker, even worse. being able to easily work with _long_ pattern lengths allows me to get somewhere towards the resolution i need to do little funk lags and early surprises. being able to arbitrarily set pattern lenght allows me the freedom to not have to translate "what sounds good" into sixteen steps. but, yes, if you're a masochist, i'm sure you could i guess i am arguing that a 16-step pattern sequencer is a wonderful interface but it becomes a workflow-bottleneck if you want to start doing certain sort of things |
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when it comes to aphex, i miss his hyper-detailed laptop music and this whole bullshit about cirklon is pretty much my strange troll way of expressing this |
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you know what, this "stride portugal" has wholesale stolen breaks, gating, actually funky but it's not as dense with samples and little details, as, say, . aphex might just be too old for this, now. vibert said as much when someone asked him if there would be more amen andrews: "no, i don't have the focus anymore." i guess i would characterize it as event-driven micromusic. so much going on it would be overwhelming, if not for lots of careful edits -- e.g. gating -- to make sure the listener's ear doesn't get lost in the impossibly fast tide of dfglkjdfg for that dense percussion, vsnares fills in quite well, these days... but funk's melodies don't quite move me like the polytonal micro-riddums of drukQs does. so, clearly, the answer is to write what i want in a tracker myself, then go on the internet and be a pain in the ass about it, because i have insomnican'tsleep |
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you're obsessed with gating now :-) why not use an adsr envelope |
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GATING ~ EpicMegatrax History (2008?) i noticed the way his gating strobed at the end of many ages ago. i commented that i liked the "strobing" and someone on watmm said something about alpha waves. messed with gating for a bit in cubase for a bit and lost interest in it. (summer 2016) got properly into syro. i was sitting there listening to the gating very closely and thinking about the psychology of attention management.... like: "if a noise interrupts another noise it's clearly a more important noise to your neurons" and so carefully manipulating how noises interrupt other noises guides listener focus etc etc. (fall 2016) the infamous "use to make all the timing snap like cher's bumhole" moment. if you care to read that post, you'll notice me saying more or less what i've been saying in the last few days about detuning and the song sounds like it's melting, man. (early 2017) i start writing songs in milkytracker for a laugh (summer 2017) milkytracker songs have gotten much heavier. for the first time in my life, gating is not this academic curiosity, but a bloody necessity. for example.... (last week) 175bpm and i'm scratching stolen drum loops and on the third or fourth iteration of using double-timing and resonance to make a monophonic 303 line sound like two and a half 303 lines, i've painted myself into a corner. it's such salad i'm starting to lose my marbles; can't focus on the noises. i start sprinkling in note stop events, much as one would carve off excess material while carefully avoiding structural elements. i move a particular stop event up 1/64 or something and it's like a freaking lightswitch; the whole pattern feels perfect now. i would have never sorted that out with envelopes |
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tldr ~ getting back into trackers and doing all the gating and detuning by typing in hex codes has forced me to finally actually do what i've been blathering about for months now |
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why not use an adsr envelope i know you were being cheeky, but it actually raises a decent philosophical point. cutting a waveform off mid-phase with no attenuation is, arguably, still an envelope. i've actually kept my blinders on, to a certain degree. i've been using the brutality of the key-off block to maintain focus, but i've gone into the manual and yes, here we are: Kxx Key-off :: Sends instrument key-off much like the note column counterpart, only in tick precision. As K00 is the equivalent of a note column key-off, it cancels any actual note on the row. Possible parameter xx values are 00 – (song speed - 1). Higher values have no effect. there we have it, the format allows for a release envelope. i'll be sure to use that to sopfhten up crisp ripple there's also this, for flair: Axy Volume slide :: Slides note volume up/down at speed x/y depending on which parameter is specified. Effect is applied per tick so song speed value acts as a multiplier. Notes: Parameters x and y should NOT be used at the same time, doing so almost guarantees unpredictable results across different players. unpredictable? nonsense. computers are deterministic. but this sounds like a laugh, it does also -- if you use the "song speed" parameter to set the speed to zero, the trax stops until a human comes along and pokes it. but the manual doesn't specify if the noises stop or keep plaaaaaayiiinnn |
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[Rxy] Re-trigger note with volume slide Notes: This command is very buggy from the start, straight from the source, Fasttracker II. While FT2's own documentation is inaccurate in many places, this is different. Extensive testing has revealed almost bizarre qualities of this effect and it's up to MilkyTracker to emulate it all. Without doubt the quirk the team has spent the most time and iterations working on getting it right. And still we advise to be careful with it. When using Rxy, check your song with FT2 (render to .WAV if you don't have the hardware (to emulate)), or at least BASS/XMPlay. And if you do find something odd, please report the bug as accurately and detailed as possible. Setting volume on the volume column (xx) at the same time with Rxy resets the volume to xx before each re-trigger making the effect sound different. Tips: Use R8y instead of R0y when you want to keep the volume unchanged, these two x values are often documented inaccurately as "No volume change" and "Unused", respectively. |
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they were clearly saving it for Riced 0ut yugo |
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Gating Another cool effect (IMHO) is gating. This is usually done with command A. Load a long/looped sample and set it to maximum volume. Now input the channel below (The notes can be anything, but keep the effects the same) (No Volume Column) C-5 1 A0F - Starts note, slides volume --- 1 A0F - Sets volume to sample default volume, then slides volume --- 1 A0F - Sets volume to sample default volume, then slides volume --- 1 A0F - Sets volume to sample default volume, then slides volume --- 1 A0F - Sets volume to sample default volume, then slides volume --- 1 A0F - Sets volume to sample default volume, then slides volume --- 1 A0C - Sets volume to sample default volume, then slides volume --- 1 A08 - Sets volume to sample default volume, then slides volume E-5 1 A0A - Starts note, slides volume --- 1 A0A - Sets volume to sample default volume, then slides volume --- 1 A08 - Sets volume to sample default volume, then slides volume --- 1 A06 - Sets volume to sample default volume, then slides volume |
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The Amiga Scene and You If you either release or listen to MODs (not XMs, ITs or S3Ms, etc), then you're probably aware of the Amiga scene, which still uses the MOD format today. If so, hold this in mind: the Amiga plays music 1BPM faster than PCs. For example, at speed '6' in a MOD, a PC is playing it at 120BPM (I would assume, anyway), and an Amiga is playing it at 121BPM. well, that could have been embarassing ! |
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Indian Food for Thought You can get a very Indian-sounding "24-tone" scale in Impulse Tracker by using this technique: (FT2 users will have to accomplish the same thing via the "tone" setting) Load your sample twice. Look at the second one, and write down the sample rate. Multiply that number by 1.0304 and put the result in the "playback rate" field of the first sample. Now you have a consonant tone in the second sample and a semitone above that in the first. By playing the second at C-5 then the first at C-5 then the second at C#5 then the first at C#5 (and so on), you get a semi-tone chromatic, which is pretty weird. If you're really bold, you might get some cool Indian sounding stuff going out of it. Good luck tracking it, though. It's a whole new set of musical theory. |
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i'm sure with the cirklon you can set delay time with individual notes |
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