Dissensus Raw Productions

other_life

bioconfused
FUCK



very dumb timing and automation tricks on this. i was experimenting with/bouncing down audacity edits/making drum racks from breaks most of yesterday afternoon, picked it back up at midnight, worked on it til 6:30 AM - hopped back in at 10:30 and finished it at noon. the rest of the track is very much built around what the drums are doing so it's not patterned strictly in 4's and 8's even though it does converge back on them, in a sense.
all this to avoid learning renoise
 

qwerty south

no use for a witticism
why come every time i get ableton running again the first thing i make is maudlin idm. even when i set out to make like, straightforward garage. is this indicative of some personal character failing, something subliminal about the workstation, or both?
not in my opinion. use "real instrument" sounds to minimise the likelihood of repetition of this.
 

pattycakes_

Can turn naughty
It can feel like hard work with hw for sure. I'm just getting back into it after being pretty contented itb for years. Fairly minimal setup. Mostly using samplers through a mixer and some rack fx. All of which have patch storage so it's just gonna take some prep and organizing. Way more of a pita than just clicking save in ableton, but it forces a different approach and I would say objectively sounds better.
 

other_life

bioconfused
at last iteration:

casio workstation keyboard + two student model guitars (fender and danelectro) -> looper -> behringer 6 channel board -> stack of 3 delays -> two guitar amps chained -> ghetto blaster

the looper and ghetto blaster both fried out though. also living in a studio apt. and got tired of gear sprawl and cable mgmt.

worked at doing stuff again w samples in audacity, trying to push myself at new sources, techniques w fx and sequencing more regular/time quantised chunks.

got to a point where i wanted the finesse of ableton back (it permacrashed somewhere in early 2023 and i put off reinstalling for as long as i could)
 

other_life

bioconfused
might try to set back up just the casio one amp and one delay and record some single patch chords, melody lines and rhythms to then block out tunes with in audacity and then finesse in ableton
 

pattycakes_

Can turn naughty
One thing I'm trying to figure out is what to do about loops. Main thing is maintaining the sound of the sampler, which is the whole point of using one in the first place.. ie recording loops in pitched up and hot, so when you pitch back down to normal you get the grit as was the way bitd. But then there's the issue of matching the pitched back down loop with the tempo of the project. Not quite sure of the right way to go about this yet. Maybe easiest would be record in pitched up an octave, that'd be double the speed, so have ableton pitch warp the loop to the desired tempo. Print it. Turn warp off, pitch it up an octave, record hot into the sampler and then pitch back down an octave in sampler's engine for playback. Need to check if pitching up an octave is the sweet spot for optimum grit. But then I guess it's just a case of pitching back down whatever the amount you pitched up to start with. So no harm in trying out a bunch of different pitches. A bit convoluted but not too big of a deal.

Then there's chopping. Definitely something quicker to handle itb, so prolly just gonna take the above treated loop via SD card back to the comp, chop it there and maybe see if there's a prog that can easily make Akai programs and have them laid out across the keys and put that back into the Akai. The SD hookup in the sampler makes a lot of this stuff much easier. Still nowhere near as fast as just doing everything in itb, but a decent half way point.

It'd be cool to be able to just have a library of all that stuff ready to go, maybe with a bunch of different tempos for each loop so if I'm on a tune in the 150 range and want a chopped Apache it'd be quick to dial it up.

All this stuff is to be thought out and set up so I spend as little time fucking around on the sampler when in tune making mode as possible. That's what I meant about prep in the earlier post. Have done stuff like this before, totally laborious shit like going through one shot drum samples and whittling them down from 500 to 30 of the ones I know I'll definitely want to use. Saves so much time once they're sorted. Have them all categorized so when I have a rough idea of what type of kick I want it takes a couple seconds to get the right one for the tune. We'll worth it in the end. But with loops it's a bit more specific cos you have tempo to consider.

Will figure it out eventually. The long term plan is to have the Akai be like a drum module. Just turn it on, load up the kit or loop and trigger from in ableton. No messing around. I've got an Emu which is way more in depth for sound design and is a lot of fun and sounds great but again am thinking the focus should be more on loading it with sounds ready to go so when in writing mode it's just a case of turning it on and flipping through presets..
 

pattycakes_

Can turn naughty
at last iteration:

casio workstation keyboard + two student model guitars (fender and danelectro) -> looper -> behringer 6 channel board -> stack of 3 delays -> two guitar amps chained -> ghetto blaster

the looper and ghetto blaster both fried out though. also living in a studio apt. and got tired of gear sprawl and cable mgmt.

Ah cool. Sounds nice and hands on. But yeah that can get unweildy quickly. Were you recording the ghetto blaster with a mic back into your comp or was that like the finished stage?

I got a patch bay for my setup. Makes a world of difference. Crazy to think that between a handful of devices there's got to be upwards of 70 cables behind all that shit linking it together. And that's not counting the actual patch cables on the front.
 

pattycakes_

Can turn naughty
might try to set back up just the casio one amp and one delay and record some single patch chords, melody lines and rhythms to then block out tunes with in audacity and then finesse in ableton

Some hands on is always good. So much quicker to put some life and meaning into things when it's your hands directly moving something rather than just a mouse
 

pattycakes_

Can turn naughty
The one other break related thing I wanna focus on is making breaks sound non break-like. Like whenever @thirdform posts those avant hardcore tracks which are like brain melting sonic mayhem, and not necessarily always the hard stuff either, just the shit that makes you go whoa wtf is that.. Wanna really explore all that and try and be able to make shit have the same wtf effect cos that's what it's all abaht innit.

So yeah, loads of fx and sonic decimation basically. But nice with it
 

pattycakes_

Can turn naughty
@thirdform what are the chances of you whipping up a little curriculum of especially out there hardcore/jungle tracks and labels for us to study? Or if there's already a thread or discogs list that'd do just as well
 

other_life

bioconfused
yeah i'd place a pretty basic lower-midshelf usb mic on the floor close but not too close to the amps and right in the middle, amps forming kind of a U or parentheses shape. balancing volume b/w instruments, mixers and amps was key. would set the recording levels pretty low and then normalise to -.5 before i started overdubbing and mixing/mastering
 

pattycakes_

Can turn naughty
Cool. Yeah micing up speakers is a whole other thing. iirc that was one of the break treatment techniques for something with a bit more texture. So many variables to play with there
 

other_life

bioconfused
mvuent texted me : o
he said my new music sounds and feels like its absorbed more 'real jungle' and is better for it
 

gremino

Moster Sirphine



Trip to somewhere else for a while. 'Come Down Selektah's uniqueness comes from the emphasis on jungle's melodic elements. Exotic and lush vibes without forgetting jungle's danger. Previously known as 'Jbb33' (my entry for Jungle Beat Battles) 🌴🌴🌴

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