Scott, also consider Akai S20.It's a phrase sampler whereas it's a 16
multitimbral sound module.So that you can assign notes to play sampled from
different pitches.
Alper
-----Original Message-----
From: Scott Kellogg <[EMAIL PROTECTED]>
To: '[EMAIL PROTECTED]' <[EMAIL PROTECTED]>
Date: 06 December 1999 21:41
Subject: RE: Track production styles..
>great, great post. thanks a lot.
>
>where can we find some of your music (you mentioned 'label mates.')
>
>do you know anything about the esi-32? i can't afford the a3k.
>
>scott
>
>----------------------------------
>Scott Kellogg [EMAIL PROTECTED]
>Kiva Networking Technical Support
>337-5070 or 1-800-819-8143
>----------------------------------
>On Mon, 6 Dec 1999, Matthew Allen wrote:
>
>> I usually start simple. Most of the tracks I've done recently have
>> started in 3 ways. Either with a drum pattern or specific melody or a
crazy
>> amount of sound design that inspires me in some form or another (This one
>> usually happens after sitting in front of generator for a day or 2). All
of
>> the different seed ideas usually end up getting worked into songs the
same
>> way though:
>> I'll start by setting it up as a 4 bar loop with a variation on the
>> final bar(so I can keep my place without looking at the rm1x). I use the
>> internal drum sounds to make it quick. From here ill start play over it
to
>> see if I can get anything interesting to pop out. If so I usually end up
>> recording a 32 bar phrase in overdub. from here I can usually split out 2
>> eight bar loops that work pretty well with each other. I repeat this
process
>> for a while until I beef up the track sufficiently. All of the melodies
are
>> done on external gear (usually the sy99 which I spend a lot of free time
>> just making wacky ass FM instruments with). I save my A3k for rhythm and
>> sometimes some weird pads (this weekends track consisted of a looped and
>> tuned choral pad sampled off of a Tallis scholars CD). Once I have a
couple
>> of sections ill go in and start copy entire sections and phrase to a
>> different section. form here ill edit the new phrase to create some
subtle
>> (usually to subtle) difference in the section). Ill also at this point
start
>> to swap out the internal sounds I used to sketch out the song for A3000
>> samples. Ill build an intro section out of the phrases I have (I usually
end
>> up with around 40 phrases per track).
>> Then comes the fun part. I basically start to do mixes with the
>> song. recording each them straight into the computer as a stereo file
(this
>> limits the 'now I need to mess with it per track' in Soundforge' urges I
>> sometimes get). I usually do at least 3 or 4 per day and edit and tweak
the
>> midi info and sound design between each take. Alot of messing with the
>> peavey to get sweeps and real-time sample loop craziness. Ill mp3 these
and
>> listen to them all week at work to figure out what I want to change,
making
>> those subtle changes not so subtle, mixing one instrument a bit softer. I
>> repeat this process 2 or 3 times (I've been doing about a track a month
>> since I got the rm1x, which for me is insane). gradually building up a
good
>> understanding of how I've set things up on the rm1x and what real-time
stuff
>> sounds best in the song. getting different ideas from each take and
>> incorporating them into the next take. I never mix down in the computer
>> environment. Its all a live take. after about 3 weeks worth of sound and
>> song design I not only have a comprehensive 'sketchbook' of takes that I
can
>> grab samples from for latter use, and use to map the process to make it
>> better, but I also have a semi final (no 2 takes are the same even if all
>> the sound design is set in concrete) track that i send out to friends and
>> label mates. This seems to work very well for me. 2 caveats though:
>>
>> 1. I wish i still had my mac with logic on it. There are things i
desperatly
>> want to do to the midi stream (not the least of which would be recording
>> each take as a straight midi file and saving that with its audio
>> counterpart). Im coming closer and closer to breaking down and buying
Logic
>> for the PC so i can have access to this stuff.
>>
>> 2. Composing like this (and live gigging) have definetly shown me not
only
>> some of the advatages to owning this machine, but some of the insane
design
>> flaws. Dont get me wrong i Love the rm1x dearly but i truly cant
understand
>> some of the decisions made. like the beat change knob not synching to
>> anything except for a retrigger of the phrase . Whats up with that? If i
>> ever use beat change live i have to not only time the knob twist almost
>> perfectly but i also have to hover over the << button on the transport
>> control and nail this on the first part of the first bar in my phrase to
get
>> beat change to line up. Just save us some trouble and let us drop it in
in
>> the edit list. In fact not being able to drop alot of the realtime
control
>> into the edit list has defeintly limted some tof the usefullness of the
box.
>> I wish i had 8 arms but i dont so I'll just have to deal.
>>
>
>
