What're Your Favorite BLEEPYBLOOP Techniques?

  On 12/16/2015 at 3:14 AM, Danny O Flannagin said:

Recording a melody with delay and then reversing the audio file

I did a thing on House of Meats where I wrote a melody with delay on it, then wrote the same melody backwards with the same delay, reversed it, and then layered both.

Sometimes reverse delay isn't good enough.

  On 12/16/2015 at 8:03 AM, Braintree said:

 

  On 12/16/2015 at 3:14 AM, Danny O Flannagin said:

Recording a melody with delay and then reversing the audio file

 

I did a thing on House of Meats where I wrote a melody with delay on it, then wrote the same melody backwards with the same delay, reversed it, and then layered both.

 

Sometimes reverse delay isn't good enough.

 

That's just lazy. You should have done additional forward and backward layers with the recording tape set to half speed, the melody shifted one octave down and played at half time and the delay time adjusted accordingly, and vice versa with the tape set to double speed. How many tracks is that altogether, then?!?!

To make glitchy stuff i use microtonic with Fabfilter Timeless delay with custom preset using the timestrech delay option with lfo modifying the delay time.I also put that on acid bassline.It does amazing things.

Also i like to make a bassline,take two or more synths and cut the riff between the different basses,to have them responding to each other.It makes the line more interesting usually.Especially effective with Fm8 basslines.

Doubling main bassline with leads or polysynths.And doubling the main melody or bassline with many synths playing parts of the melody cut up.Like having 10 different synths playing the different part of a bassline one after the other.

  On 12/12/2015 at 6:22 PM, Brisbot said:

I've been super into using drums to trigger automation. Starting at 2:08 in the track in my signature, most of the acid sounds after come from using drums to trigger cuttoff, cutoff width, resonance, etc. Also using different drums for different parameters. My favorite kind of drums to use are ones with sharpish automation curves.

 

I set up a ton of midi in a chosen key, in 1/4th, 1/8th and 1/2 notes (and sometimes 16th). I record the automation using drums, maybe manually tweaking some aspects. For instance I might use the drums for the cutoff, but I might also manually trigger an LFO and LFO with a slider or something.

 

After I record a ton of samples, I splice and dice and arrange, such as in that track. That track was one of the first times I REALLY got into it, and the stuff I'm working on now is notably more advanced :)

 

One side effect of doing this, is that the samples you record often sound 'wild' and 'natural' if that makes sense. They don't use static or straightforward automation curves generally so it's easy to get variation.

 

The rabbit hole with this technique goes pretty far I'd say.

This track is a total banger, one of the most interesting tracks I've heard on here. Fair play Bris, you have pwopah chops!

  On 12/16/2015 at 9:07 AM, psn said:

 

  On 12/16/2015 at 8:03 AM, Braintree said:

 

  On 12/16/2015 at 3:14 AM, Danny O Flannagin said:

Recording a melody with delay and then reversing the audio file

 

I did a thing on House of Meats where I wrote a melody with delay on it, then wrote the same melody backwards with the same delay, reversed it, and then layered both.

 

Sometimes reverse delay isn't good enough.

 

 

That's just lazy. You should have done additional forward and backward layers with the recording tape set to half speed, the melody shifted one octave down and played at half time and the delay time adjusted accordingly, and vice versa with the tape set to double speed. How many tracks is that altogether, then?!?!

 

I did something similar to that on Giant Metal Caterpillar.

I make some bleeps then, to get the bloops I take the bleeps and fart on them...

  On 12/16/2015 at 3:14 AM, Danny O Flannagin said:

Recording a melody with delay and then reversing the audio file

yae i did this i think on this track

https://soundcloud.com/geosmina/ios-not-the-fault-demo-demo

trig bd^cp 1^64 smp.smp:rndi<106,120> smp.tun:(pick<sc.min>)+12 syn.tun:(pick<sc.min>)-12 amp.rev:pick<0'20'40> rt:pick<0'1> rtr:1/(pick<32'48'16'24'12>) rtl:pick<1'2'3'4> rtv:-120 amp.pan:rndi<50,70> vel:pick<20'80'40'120> amp.dec:pick<20'60'100> trc:prb.80

Watmm need to diversify their bleepy bloop yo.

cheap boring loop fx and delay and flanger things

lately, lots of vactrols

  On 12/13/2015 at 12:16 AM, Brisbot said:

Make a sample pack 4 me plz

He lives up near where I grew up, so I'm probably returning it when I go up to visit my family for the holidays but if he forgets to ask for it I'll hold on to it for a bit and do that.

actually serious idea

rms with floating point/some exponent/root other than 2

also I made a helper script so it spits out the sum of the squares as a sample, then you can EQ that and get the root with the helper script (which remembers the rms size to divide by). The EQ exaggerates/dampens the power of the signal in some weird way when you use it as a sidechain?

motion sensor to wanking hand hooked up with arduino in max/msp linked to cycle~ object yo.

I actually want a parametric EQ controlled by Kinect or whatever, since it has three parameters to control maybe it could have interesting results. Like gain would be Y axis, freq X axis, and bandwidth Z axis

i usually take the basic harmonic content of a song, and make a random arpeggio out of it and trigger a short percussive sounds on a doepfer dekstop synth via cv/gate. the cv/gate part doesn't really matter, but its kinda fancy to use voltage controlled anything. anyways, it makes for a great melodic bleep bloop to fill up the spaceand makes boring stuff less boring because there's always some movement going on.

about the first production tricks I read in teh net were

1) always put a compressor after your sampled 909 kick;

2) use LP filter on sine wave bass

they were classics, probably most often offered advice

Future Music magazine had a Pan Sonic interview, it was probably the previous millennium ...

Q: how do you get those great sounds on your records?

A: erhm, we like move around those knobs and sliders ...

-OMG! is that how it's done ...

lol