Drill'n'Bass/IDM Beat Programming

  blicero said:

this is my dream way to make beats...

 

Also available in hardware as...

  loganfive said:

  Paulie Walnuts said:

You can get the Eventide H3000-series delays and pitch shifting in Pro Tools tdm format now - but, even for a mid-80's fx unit, they eat HUGE amounts of resources... You can buy an H3000 for about £700 s/h... so it's not really saving any money and you don't get the Eventide convertors, which I think are a big part of the sound.

 

Richard Devine uses the H3000 and Orville as his core fx processing to the best of my knowledge.

 

You can get the new Eclipse, which is a sort of preset module, for around £1,000 - it's tricky knowing whether to advise that above a Lexicon tbh... To get into the Eventide takes serious work - you really need to download the VSIG PC editing software and get on a very technical forum or newsground... It's quite daunting... Most DSP models will set you back at least £3,000 new, sometimes closer to £6,000... They're cheaper in the US though.

 

Bargains pop up every now and again, I got mine for next to nothing - a friend of mine got his Orville for £700 - those kinds of deals don't come along often.

 

It's NOT an easy way to get glitched beats and wierdness, it's basically a heavy, bomb-proof metal box, with a minimal interface, and a ridiculously powerful array of DSP's which can be made to do almost anything if you don't mind spending half your life staring at it...

 

The modern Eventides are something like 64-128x more powerful than the H3000's, but even a single H3000 pitchshift algorithm eats up a Pro Tools TDM unit - so it shows the kind of number crunching you're talking about... You can even feel the big metal dial on the front vibrating when it's switched on...

 

A Lexicon is a much more effective studio tool in many ways - You can make a simple reverb, chorus patch in a matter of seconds - and no one's going to complain about Lexicon quality... I don't even think of the Eventide as an fx processor tbh - it's actually a lot of effort to make a reverb + chorus patch... Don't buy one unless you absolutely know you need it.

 

 

i'm not daunted by it.

 

i don't want instant glitch either... most of my posts on the subject advise against it.

 

i read the specs and was suitably impressed.

 

question is, is it actually worth the money, in terms of return in sound quality, acoustic environments, multi programmable quad delays etc...?

 

squarepusher does his thing, i do mine.

if Eventides were $3000 cheaper id say buy one, right now you can pick up a used Kyma for $2900, which imo is as powerful as an eventide but much easier to use. Its also capable of processing that the eventides are not such as spectral morphing and resynthesizing live input into 128 sine wave oscillators.

And besides an effect processor it can be used as a sampler, and synthesizer. Im sure Eventides are capable of things that the Kyma isnt, but overall the Kyma has more types of uses where the Eventide really only has one specifc use, a realtime effects processor.

interested^^

searching.

sound clips of kyma

http://www.symbolicsound.com/cgi-bin/bin/v...ucts/SoundClips

i compare kyma to the eventide because both of them do not sound dated at all, the sounds are very fresh and unique, they are both over 10 years old which is pretty fucking amazing imo

i bought one for the spectral morphring, but i was shocked at how many other features it had such as the best sounding digital vocoders i have ever heard , the time stretching is near transparent (that 24 hours of 9th symphony album could have easily been made on a kyma), and it has a software interface that acts like a more simplified version of Reaktor, more like audiomulch.

i'll read everything later. can't be bothered now.

but.. "what they own" - squarepusher said he rented the Eventides if i remember correctly. he rents expensive hardware anyway, rather than buying it. he's also said he's used reactor but not max/msp (maybe he has since) when asked (max/msp is/was then more l33t to name-drop).

  Analogue Wings said:

  blicero said:

this is my dream way to make beats...

 

 

Also available in hardware as...

i almost bought that a week ago. bought a '75 fender rhodes instead.

  tauboo said:

i'll read everything later. can't be bothered now.

 

but.. "what they own" - squarepusher said he rented the Eventides if i remember correctly. he rents expensive hardware anyway, rather than buying it. he's also said he's used reactor but not max/msp (maybe he has since) when asked (max/msp is/was then more l33t to name-drop).

ive tied looking for places in the us that rent out stuff like eventides to no avail. I remember reading an interview as well that said he used reaktor.

I use a .9c near-time-resistent thought sharing platform recorded in 360-channel virtua-sound quadra-dolby feel/smell/sound technology ™on my sony quasi-synapse interceptorman while I ride my hoverbus and then I print out the raw binary data onto a sheet of paper which I run through a scanner and then load up the images in spectral analysers and also just use the standard raw data and then reconstruct the audio and then play it out of my interceptorman while I record onto my YamahaNovaIBMMozillaCasioBMW Devilshark TB-L0L analogue synthesising interdimensional holographic tape deck and then put the amen break on a magnetic disruptor and anhilate the tape using the amen break and then feed it to the karkians and then hand-splice the resulting recordings of karkians eating the amen break and also the chewed up holographic tapes and together to form a complex set of interlaced audio matrices and then I remix it using fruity slicer and then I send the audio back in time to 2006 and upload it to the internet and laugh at people from the past about how they have no idea where electronic music will go in the future while I play Aphex Twin's album that actually reaches mainstream but is still electronic music and not a sellout album before he ever thinks of the idea of placing hypnotic interactive messages inside of his songs telling people to buy it, and then I will be rich. Hah, 2006 will never see it coming.

  $$$Celatid said:

I use a .9c near-time-resistent thought sharing platform recorded in 360-channel virtua-sound quadra-dolby feel/smell/sound technology ™on my sony quasi-synapse interceptorman while I ride my hoverbus and then I print out the raw binary data onto a sheet of paper which I run through a scanner and then load up the images in spectral analysers and also just use the standard raw data and then reconstruct the audio and then play it out of my interceptorman while I record onto my YamahaNovaIBMMozillaCasioBMW Devilshark TB-L0L analogue synthesising interdimensional holographic tape deck and then put the amen break on a magnetic disruptor and anhilate the tape using the amen break and then feed it to the karkians and then hand-splice the resulting recordings of karkians eating the amen break and also the chewed up holographic tapes and together to form a complex set of interlaced audio matrices and then I remix it using fruity slicer and then I send the audio back in time to 2006 and upload it to the internet and laugh at people from the past about how they have no idea where electronic music will go in the future while I play Aphex Twin's album that actually reaches mainstream but is still electronic music and not a sellout album before he ever thinks of the idea of placing hypnotic interactive messages inside of his songs telling people to buy it, and then I will be rich. Hah, 2006 will never see it coming.

yeah, i pretty much use the same technique, but with ReCycle instead of Fruity Slicer.

OH SHIT I FORGOT TO GO BACK TO 2053

  blicero said:

  Analogue Wings said:

  blicero said:

this is my dream way to make beats...

 

 

Also available in hardware as...

 

 

i almost bought that a week ago. bought a '75 fender rhodes instead.

Signs you have been listening to too much Squarepusher #23...

  loganfive said:

i'm not daunted by it.

 

i don't want instant glitch either... most of my posts on the subject advise against it.

 

i read the specs and was suitably impressed.

 

question is, is it actually worth the money, in terms of return in sound quality, acoustic environments, multi programmable quad delays etc...?

 

squarepusher does his thing, i do mine.

As Awepittance says, there are much more flexible, versatile and easier to use options out there... I mean, it'd take me 1/50th the time to do what I do with the Eventide in Reaktor - and the fact is, Reaktor can do much more, and it makes sense...

But, most the Eventide's power goes into their own signiture DSP processes.

I mean, you don't buy a top-end Lexicon or a Neve pre-amp for flexibility and versatility... Lexicon's still the Royals Royce of reverbs, Neve may just have the best tone of any character EQ out there, but Eventide holds this kind of prestige with DSP processing in general... and that's what really justifies that price tag and the complexity of the units...

The simple chorus and delay modules sound like nothing you'll have ever heard out of an fx processor before... The chorus, for one, only sounds phased if you force it - it can sound wide, deep, expansive, rich, etc... very much more like an analogue chorus pedal than anything a Lexicon could achieve...

Likewise, such a simple effect as a delay - it sounds pristinely detailed and clear from the Eventide... Again, the TC's and Lexicons can't touch it for these kinds of fx... Eventide have decades of tweaking and masses of power going into their DSP algorithms - they're a million miles away from anything else out there.

It depends how central DSP processing is to your work... I mean, if Vladislav Delay was using Reaktor or Max instead of the Eventide, his music wouldn't even be recognisable...

Much like compairing a Roland Space Echo with a TC Electronics rack delay... The TC's got 100x more options, but the Space Echo sounds so full unique that it can transform a single synth patch into a deep ambient tune... Character fx...

  $$$Celatid said:

I use a .9c near-time-resistent thought sharing platform recorded in 360-channel virtua-sound quadra-dolby feel/smell/sound technology ™on my sony quasi-synapse interceptorman while I ride my hoverbus and then I print out the raw binary data onto a sheet of paper which I run through a scanner and then load up the images in spectral analysers and also just use the standard raw data and then reconstruct the audio and then play it out of my interceptorman while I record onto my YamahaNovaIBMMozillaCasioBMW Devilshark TB-L0L analogue synthesising interdimensional holographic tape deck and then put the amen break on a magnetic disruptor and anhilate the tape using the amen break and then feed it to the karkians and then hand-splice the resulting recordings of karkians eating the amen break and also the chewed up holographic tapes and together to form a complex set of interlaced audio matrices and then I remix it using fruity slicer and then I send the audio back in time to 2006 and upload it to the internet and laugh at people from the past about how they have no idea where electronic music will go in the future while I play Aphex Twin's album that actually reaches mainstream but is still electronic music and not a sellout album before he ever thinks of the idea of placing hypnotic interactive messages inside of his songs telling people to buy it, and then I will be rich. Hah, 2006 will never see it coming.

When I was 14 I was walking through the breacon beacons and heard a sheep cry in the distance, as I moved around the bushes.... it exploded! All that was left was a heap of wires and mess and strange noises. The mess was claimed and taken home, I watched several times the film Short Circuit and hoped benijimine could help.

he couldn't, but after I found him in holywood he was held upside down and slapped, and thus told me how find the book that would help me decipher the mechanical sheperds pie. (taking down a man of his size at the age of 14 was tuff, but luckily Celatid morphed in and held his arms, afterwards promptly giving me meow mewo dmty10b from the year 2053, and got a bit fucked)

so I knew how to find the sheep powers knowledge, but not know what powerful hardware it was.

before I had packed my bags to venice my mate got a new thing called the internet so I just asked around and found it imbedded in bobba fets undies in this one picture that was on the making extreem site.

It was needed to ejaculate onto the sheep and if you are to make the object come to life.

My mate jon immediatly was very angry

"why are you angy " I asked

"fuck, i spunked on it yesterday and nothing happened, I can't be spunk worthy"

I couldnt say much to that, so quickly went to try my best.

Now the shepragon 778 is completly iron static stuff.

It has a logorithmic wooly coat for complex instrusive stuff

its ears, all 4, control earth mantel and osciallion of sine waves to sea baring waves controlled by luna modulation,

Beats are just churned out, I mean, aslong as you inject its moving coil with a different Franks DNA every 2 days, then your sorted for dampening the magneticc field that made it explode before.

I don't remember that, that must be my future future self.

So thank me later.

i read the first two replies and shrugged

drill n bass can never be as effective unless you use a tracker end of story cut wrap check the gate

  acid1 said:

i read the first two replies and shrugged

 

drill n bass can never be as effective unless you use a tracker end of story cut wrap check the gate

you're missing out.

fruityloops at 375 bpm

/end thread

  producer snafu said:

fruityloops at 375 bpm

 

/end thread

WTF? No dude that just sounds like rubbish, doesn't have the same.. look it just sounds like shit to be honest.

  edge said:

  producer snafu said:

fruityloops at 375 bpm

 

/end thread

 

WTF? No dude that just sounds like rubbish, doesn't have the same.. look it just sounds like shit to be honest.

if you knew how to take advantage of fruity it wouldnt sound like rubbish my friend

Let's have some new styles rather than focusing on recreating Go Plastic.

  ghost trance said:

Let's have some new styles rather than focusing on recreating Go Plastic.

ghost trance?

more like ghost-core

new styles for sure

you guys are stuck in the 80's

ever heard of electro? that's what's new (!)

  ghost trance said:

Let's have some new styles rather than focusing on recreating Go Plastic.

We should make internetcore.

i got a review on P168 from space disease accusing me of automatic vst glitching, which really really insulted me, especially having left him such a drunken mega, over-blown praise review.

hours and hours of clicking and then someone says its 'automatic'

all my drill programming is done in reason with dr.rex. reason for beats, flp for synths. you cant really get any well-produced meticulous sound with anything 'random', its all about knowing your midi (for example, i make beats in 1/32th alternating 1/64th snapping so combined with basic things like filters and pitchshift you can make good 'glitches' as you go along).

in two songs ive used that original glitch.exe to produce drum sounds which were then put down as midi notes from dr.rex, and even experimented with the actual glitch vst demo on the wtfjimmy record (the last song i did), but both are pretty wack - especially the vst which makes rea`lly conventional, samey sounds no matter what you do.

hey, i guess im getting pissy cuz its always my beats that people tend to praise, and this thread just opened up a plethora of shortcuts in the future i can take... but being accussed of that when youre not is a kick to the balls. i like to keep it real. nothing beats opening 6 breaks and alternating between each one every two midi notes.

as for the tips in this thread - i just tried out buffer overide - lol wtf?