I mean ,to play samples from different pitches:)
-----Original Message-----
From: Alper Olcay <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
Date: 06 December 1999 22:17
Subject: Re: Track production styles..
>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.
>>>
>>
>>
>
