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 (nobody)...and 47 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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[cheboygan is so done] |
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Nice, it could be rdj I’m leaning more and digging Acid Repository and Ambient Disco atm. 05:06am so no bike ride yet 🛹 |
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that this is why i'm in it, on many levels like, where it sounds like the mario bros skid noise? that's totally not sampled, technically legally in the clear... that the keyboard i am using has "TR-808" but 808 has 8 or some shit and they've expanded this into a GM kit and so much of the sounds have nothing to do with 808, really... then i've pitched the kit down to be in tune with the song and i'm fussing around with some of their noises and skidding midi and out comes mario bros and it's just like... sick made my night i could get wrongly sued; copyright takedown'd for that. is there any way to leverage this for personal gain? |
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Nice, it could be rdj thanks, first off. i think. i've been having a bit of a brainfart over the microfreak playing [that emerges from the drones once they unfreeze] like... ohh, those keys remind me of... which song was that? sounds like chemical brothers. the way they do those little keyboard sounds like at the end of "lost it in the k-hole"... but, no, none of the CB songs i know are this then i realize i was actually thinking of "pclonky" by nevenen, that my keyboard playing got deep enough in my brain that i was sure i was remembering some CB track instead of my own. or perhaps analord. but it's neither, even if it borrows from both i've had "oh yeah that's my song" a few times but i haven't had this much more stubborn, brain-fart like persistence where i have to keep reminding myself that's a nevenen song, chemical brothers don't sound like that and neither does analord kind of interesting, i figured? ~ starting 1:06, this is the thing. curious if anyone else gets that but this is really just me saying "huh, that's strange" and no worries |
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oh hell. it could be autechre actually. lol |
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👩🦰👩🦰👩🦰 |
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it sounds 0% like autechre, maybe -100%. But i like it, despite the fact that the beat never locks in in a meaningful way. Nice little warped melody that come in around 1:01. Nice little isolated reverberated bits scattered throughout. This is a quality track. |
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it sounds 0% like autechre, maybe -100%. i was really just speaking of my keyboard playing (1:01 as you mentioned) and how i'm using that sort of sound, and... i have it now: theme of sudden roundabout. i think. but not the same melody, no This is a quality track. thx |
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peshwaari naan would be better without the diva samples |
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unless i had another tab open AHAHAHA,nope |
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actually irritated i can't hear the quite ttasty percussion due to fucking Gloria Gainor or whoevr SORT IT OUT |
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I like how you do the thing with the stuff, do you feel better now, i hope so. |
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it's not diva samples. it's a gospel trio, thank you very much |
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actually irritated i can't hear the quite ttasty percussion due to fucking Gloria Gainor or whoevr SORT IT OUT to be a good sport, i went back and opened up the reaper project. in addition to the one posted, i have: 1) one warmup track that is a total disaster, i didn't even have those drums yet 2) a track that's nothing but the gospel trio for two minutes or so because i thought that was pretty good and i wanted it for scratching or such. uploading them would just irritate you, so i won't |
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I like how you do the thing with the stuff, do you feel better now, i hope so. well, sort of, maybe? that i'll make something and be really stoked about it, and, "hey check this out!" like, i want you to feel this too, the excitement i feel about this then yes, not all of it lands. this one, though, very nice warm cozy feeling; figured it would. but others i figured would, didn't. etc that i suppose recognition is a hollow that eventually implodes into capitalism: i could go back and set all the machines up [roughly] the same way and do a version without the samples, or a different sample, and... how much is it worth to you? |
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other salient °s ° things are panned such that if you extract the right channel you'll probably get some of what you want ° did you notice.... the drums are actually triggering the samples? |
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!!!UPDATES!!! i have renamed the album and made a proper cover. try and beat it, really |
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very much a mixed media effort. spent two or three hours abusing the printer to get the proper gurn. picked a favorite and busted out the vintage label maker. colored in the yellow with a pentel and then a bic g2 #10 for the face. but then scan it all in and digital composite |
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don't plan to, but i could see setting up a kiosk at a mall somewhere if i had enough of this stuff to cover a variety of interests. if anyone wants to buy some of these, four or five a pretty good really, but then we get into most of you are across the pond and shipping it is probably worth six times what anyone would pay for it. oh well |
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and i'm talking too much, but we're used to this? been sorting through some old papers and found a stash of unused graph paper torn out of a notebook; every sheet i have to carefully tear off the spiral frazzle as a meditative exercise in not ragequitting. but i thought: that's perfect the one time i tried acid and mushrooms together -- stay away from combos in general unless you're really sure, and who ever is? -- i remember seeing a grid. it's more, like, blotter size, or bigger, cubic centimeters, not this american, 4-per-inch graphing paper. but that one came back a few times, that i've seen it visually referenced elsewhere: a very surprisingly coherent grid, perhaps some stuff growing off of it, then the fringes of the grid bleed off into negative space like a japanese ink painting. i would go out on a limb and say it's a common acid visual. so, perfect: let's combine a dying ink cart that just does blue, fussing with [draft?] color mode, shifting the image around a bit, then the graph paper is kind of mussed and one i am literally pulling it, not gently, to keep it from re-jamming as it prints then i see the paper wobbling and a light bulb so i print it once, lightly, then i take out the scissors and cut tracks on both sides of the page. get very direct results if you cut it so it moves in and out of phase. where you start it in the tray, aligned with left track or right the vintage labels, i had to leave them mashed under books and such overnight, like pressing flowers or four leaf clover in wax paper -- they're so bendy i knew it'd cock things up if i didn't dsfjkgdfg patience and leave it mashing good overnight that i started with "this is my album cover image yes" then "i should print it out and actually doodle it in by hand, that'd be cute" and pretty soon thing is about as much effort as i'd put into a whole track. and no one's buying. welcome to my life |
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i knew i was on the right track when... first paper i cut alpine slide trax on, i'm watching carefully -- like, this might totally jam the fuck up i have no idea man -- and it very elegantly wiggles the paper back and forth in front of my eyes, before PATOOTIE it literally shoots the paper out a foot onto the carpet when it's done i thought: yeah this is money but then i cocked up and printed over that particular sheet in the wrong mode. oh well |
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that it makes me so delighted when little things go on, like... i notice "C S" mysteriously half embedded in the tape as i load it into -- i had to use this one for this -- the label maker that looks like a kirk-era space laser gun. i think, "oh, odd, how did that even happen?" and then after i upload to bandcramp i notice that, without consciously doing this, it has come out as A C I D SNOWBALcLs can someone just plz write me a large check so i can do this all day |
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ok, no, it clearly reads SNOWBALoLs takes me a while to figure out my own CuriouS unConsciouS jokes |
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Why 7 bucks for one song? |
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$1) if you click on it, you can buy it for )1$ 2) tldr material: kind of just making the album in front of the neighbors in the driveway, approach developed w/ "acid repository" -- post stuff as i record it, gradually quality control most of it as i come to my sense(s), but then flip them over to "bonus" tracks. listen to feedback as i go. bother everyone blogging the process on zilty. etc |
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the cover, yes, makes sense in the context of 2) does it not? that i saw that image, and, like the time i made a bird lamp, i just saw it in my head with an acid smiley and oh he's throwing an acid snowball! that's cute and i'd already decided to turn the image* into an album cover when i was like "oh, yeah, the way you say something 'snowballs'" sometimes i am simply sure, so i charge ahead. eventually go back and figure out why i was sure *w. wilson throwing first pitch out at a baseball game, 1916, untouched by copyright etc |
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i'll boot myself off after this last bit there are a lot of parallels between the visual aesthetic and my music. not sitting there trying to make it match, just a) my tastes are the same anywhere i go b) my processes aren't far behind cutting alpine slide grooves in the edges of the paper like i'd set up a pair of dueling multi-point envelopes. being almost religiously puckish and particular about my choices of implement. like, my brain said: pentel for the yellow. then i'm going to draw the face, and i'm very sure about a g2 #10. then i'm very sure that i have to go find that vintage label maker, and it needs to be the purple tape. then i need to press it like flowers under books overnight because it's too bendy and i was having a giggle about how much this is identical to me with music gear, but so much utterly more easy to explain. that "vintage label maker that looks like a laser blaster with the purple tape" is a lot more snappy than, like, obsessing over 0.62 on the digitakt |
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the artwork is great, i think the track's a grower, not keen on the first bit but it crunches nicely as it progresses |
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oh, the intro. that, sure, would hope you'd appreciate it, but i understand that result. the intent was just spare paint splats of noise, deliberately difficult to hang your hat on, leading you on to think the beat will wind up a bit different than it do, then i gradually drop the other parts in and it clicks into place. from there, it's like... are you not keen on that stretch, or are you continually not keen until it builds more momentum? probably another 10-20s |
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that i was just feeling the need to make rave stabs on the korg wavestation. you can make fucking anything on that keyboard, if you have the patience to learn it. i have that on tap, but i'm just googling, what's the formula for a rave stab? that i about have an idea, but it's always wise to see if there are any Classic Recipes available. but then it's like Most of those rave stabs aren't synths, but samples of a chord stab. Usually taken from an old soul or disco record. Then modified with effects. --reddit Download a plug-in called rave generator! Its a library if all the famous rave lead stabs all in one free plugin. --reddit Let’s create something suitably ravey with Ableton Live’s Wavetable --musicradar and i feel like a bit of a dinosaur, because i actually make my things. old and aloof, but also a smirk, like, as a large dinosaur, i suspect i've already stepped on a few of these kids and not even noticed no one will really see since i'm not on tiktok with an acceptable haircut, which is too bad, since i do feel a bit smug reading, like... so many people have written so much garbage on this: use a plugin that's a rompler with samples of the korg wavestation, it's great well i have an actual wavestation, and i can do things like sync the wavetable timing to the midi clock. brb |
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you always do good endings man, as you strip back the layers. this stuff sort of reminds me of (compliment) |
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"video unavailable," it says. nothing about copyright or region or anything. simply unavailable. if you don't post another i'll try and find it but endings, yes. like freshman, sophmore year of high school, two semesters of "introduction to electronic music" and it's taught by this guy who was clearly gay and generally very mild and polite, but then we get to talking about endings, and he's almost, like, pissed: fade-outs, that's the loser route. you only do that because you can't figure out how to end the song properly and i'm not that far. fade-outs are fine. but it was still incredibly solid advice that i'm getting as i'm, like, 16, and just starting all this. i don't think that it's a dark art to create powerful endings, more that most musicians don't have that moment, that guy's rant, in the back of their mind |
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hmmm. |
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yes both these work |
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sendspace track: maybe it's being kind of a dick to complain about the, i dunno, TR-707 GM kit used here. but, like, it's not hard. overdrive the channel. a shit presonus tube preamp. etc bit past two minutes in: synth sounds good; percussion more textually appropriate. bit past three minutes: perhaps same keyboard doing GM 707 with one of its normal sounds pitched way down through lots of reverb? bit past 4m: is it modulated or is it distorted portasound? (tm) then perc takes off and it's interesting but a bit of a mess ending, here we are: all the sound grow brambles, esp. the perc, then we drop it out, and... 6:01 sudden cut-out, is the file munged? because i was going to say "is this what my shit sounds like to people" except i'd 1) cut percussion and then just some of the synth bits, 2) start to soak it into my feedback network of boss pedals, maybe with a smidge of the drums 3) cut most of the synth sources out and knead the feedback like bread for a bit instead, yeah, just an awkward stop. i really lean towards the file missing the end -- 6:01, that's it |
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nah it's cos all the tracks on the album flow into each other, not borked mp3 |
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it's just some of your repeating / evolving drums that made me think of phthalol, yours is concise while this is sprawling |
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new track ~ i'm going to keep noodling in this zone |
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that, i dunno, rather old skool? but a lot more detail in the fx wash. that clappy pattern, i was just making stuff i wasn't trying, but yeah, that's like... jeff mills the wizard mix... dream girl part-ish the flanger, yeah, that's even more, like, nevermind detroit, just the flanger on the wavestation... i think it has the sound because that's where the sound comes from. goddamn i've not used it much but i love it now but it also makes the mix a little odd. it sounds great on proper cans with good bass. it sounds great in my studio with monitors and a proper sub. then hmm that sounds a bit weird and quiet on my office crap-ish desktop speakers but generally: yes, programming the wavestation with complex moving detuned sawtooth and then running it off the 303 seq, then what is a beat without a live clap and i'm deeply satisfied with the helixing of the claps in the outro of this. a rather complex form constant, but minimal, that it does quite a bit for how few claps. the sense that they're very elegantly domino-ing into the next one and exploding but it was just a quick track i made off the tail end of making rave stab sounds on the wavestation last night. left the gear on overnight; came back and mussed with it for 20 minutes today, then i am like AAAUGH I LOVE THAT and i hit record and here we are. |
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actually notable because you could play this for a bunch of people dancing [off their tits] and it'd probably melt their faces as they burn out dancing. plenty of my stuff is great music for cardio, but i don't usually have... yeah, here's a weird little firecracker you can just mix in |
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post plot: doodling visual patterns in the mind like you'd doodle a pattern onto the palm of a deaf mute, in three stages: a) years ago b) someone else's work here c) how it's relevant to this thred a) that in i made in ableton in 2012 or something, the intro, you can hear, if you take a bit to focus and picture, i'm drawing that five-pointed star you can do in a single motion, that you learned when you were eight or ten. then, boop boop, drawing a dot on either side of the top point. b) ~ this is someone else's song, and it very clearly draws a bowtie, or, if you extrapolate the motion into three dimension, it's actually very much like tying your shoes. in double knots. c) i'm drawing some sort of freaking pattern with color stab test, but dammit, i can't quite... pull down what it is... any help? |
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i dunno. the lesser mystery is that it's a breathing, spooling/unspooling caduceus fing. it's particularly incorrigible if you allow it to tell you how to shake it about. but i feel like i've doodled some higher-order shape, in a lower dimension. and nevermind. if it really matters, i'm sure i'll sort it out |
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i think... shit... it's like if you drew the star, kept going, and drew a second order row of points around it in the same motion. i think if it makes any sense: it's hard. it's hard to, like.. see this stuff. need to meditate more |
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new track ~ norman cook, i'm comin' for ya and also that guy that did the powerpill pacman song |
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new track ~ changed the structure from cheeky 303 tuning to... more straightforward but still a bit cheeky something about the sh101/delay is just right that i'm hallucinating cheese 90s rap lyrics over them |
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i moved "richard's morning rinse" to bonus track. the mix is better than nyah-nyah but worse than sass. nyah-nyah has a lot more personality to it. but not a great mix. i would have totally re-recorded that if not for my foot. after i got sass further i think color stab test is decent, quite good, etc and not just a re-riff on anything so inclined to leave it but maybe this just collapses down to an EP with two tracks. because of a non-dislocated fractal of the 5th metatarsal dimension |
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that, i dunno, rather old skool? but a lot more detail in the fx wash. that clappy pattern, i was just making stuff i wasn't trying, but yeah, that's like... jeff mills the wizard mix... dream girl part-ish it's like particulates being spurted out a jet, underwater. in discrete bursts -- just, ~tst~ and a little plume forms and evaporates. but if it starts emitting rapid patterns of bursts, the plumes band together and stick around a bit longer and other shapes. not my ultimate definition, just a thot |
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never stops at just a thot |
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