I was reading some stuff on how people can produce music together at a distance...
I found Dropbox which is more or less "content"-independent but the files are sync'ed and updated if one of the members does something new... this could prove interesting as long as we're using the same tools..(It's actually a SVN for dummies - like most of us probably)
The other one is RiffWorks-T4 which could be quite interesting... I'm still to spend a couple of hours to know the "if's" and "do's" and "don'ts" of it but.... I'd like to think that decisions should be taken with maximum of possibilities at hand!!!
Hope to get some feedback soon!!
Jan 27, 2009
New links short post
I stumbled upon a fantastic website with lots of useful info regarding gear, music business, production techniques and other stuff!!!
It's a "straight-to-the-Links-section" !!!
By the way, Its name is: Key of Grey.
DO check it out!!
One other comes from AUDIOTUTS and regards Reason and the use of the Combinator!!
Here it is!!
Posts are coming quite slowly sue to labor issues (I need vacations!!!)
Cheerio!!
It's a "straight-to-the-Links-section" !!!
By the way, Its name is: Key of Grey.
DO check it out!!
One other comes from AUDIOTUTS and regards Reason and the use of the Combinator!!
Here it is!!
Posts are coming quite slowly sue to labor issues (I need vacations!!!)
Cheerio!!
Jan 19, 2009
Bidule challenge 1
Ok... Even though I'm not having that much time to try it anyway, I propose a new type of posts dully called "Challenges" .
Hmmm..... intriguing isn't it!!!
Well.... One calls out a task, to-do list or some work-flow dilemma and posts it to gather intelligence on the enigmatic issue.
Enough said...
Bidule Challenge 1
Take a sampled loop, with fixed duration (let's say 2 bars) and get it to be triggered at a certain point in a sequence (16 bars), so that the sampled loop stays in tempo with the master sequence.
(Just like in Ableton Live).... Let's imagine the sequence is running, and you trigger the sampled loop, so the "bidule" should get the trigger and wait until the sequence is at 2n bars and then shoot it!
I'll get into this as soon as I can...
and.. post this in the Bidule Forum to gather further intelligence ;-)
Hmmm..... intriguing isn't it!!!
Well.... One calls out a task, to-do list or some work-flow dilemma and posts it to gather intelligence on the enigmatic issue.
Enough said...
Bidule Challenge 1
Take a sampled loop, with fixed duration (let's say 2 bars) and get it to be triggered at a certain point in a sequence (16 bars), so that the sampled loop stays in tempo with the master sequence.
(Just like in Ableton Live).... Let's imagine the sequence is running, and you trigger the sampled loop, so the "bidule" should get the trigger and wait until the sequence is at 2n bars and then shoot it!
I'll get into this as soon as I can...
and.. post this in the Bidule Forum to gather further intelligence ;-)
To buy or to make, that is the question..
They've been around for quite a while now. Nevertheless I think they fit the bill to be mentioned and referenced here.
I'm talking about two different, yet similar answers to your sound designing and manipulation delusions:
-SynthEdit; and
-SynthMaker
Quite inexpensive if you ask me...
I'm talking about two different, yet similar answers to your sound designing and manipulation delusions:
-SynthEdit; and
-SynthMaker
Quite inexpensive if you ask me...
Jan 18, 2009
Pretty exciting first quarter 2009....
*-AudioMulch going 2.0
*-Bidule going full 1.0 version
*-Live 8 with Max/Msp support via "MAX for Live"
*-Max for Live
*-Akai APC40 .... controller for Live (Tweak-able with Max/Msp... step sequencers, matrix control, you name it..)
..I'm very curious about Audiomulch and the Bidule, though...
*-Bidule going full 1.0 version
*-Live 8 with Max/Msp support via "MAX for Live"
*-Max for Live
*-Akai APC40 .... controller for Live (Tweak-able with Max/Msp... step sequencers, matrix control, you name it..)
..I'm very curious about Audiomulch and the Bidule, though...
Jan 13, 2009
They walk among us too... two
MiMi Records have just reached their 100th release. And why is that such a nice thing?
Because it's a portuguese and japanese project, presented in english language to a world-wide audience in a celebration of post-geographical like-mindedness and a living and sucessful proof that rethorical cosyness can be multicultural. Among us they walk, indeed.
Because it's a portuguese and japanese project, presented in english language to a world-wide audience in a celebration of post-geographical like-mindedness and a living and sucessful proof that rethorical cosyness can be multicultural. Among us they walk, indeed.
Jan 12, 2009
One other tool with another tool with another community
Remember the old days??
...Does Fast Tracker (or even Octave) ring a bell??
Well it does to me.... (I actually tried to do my first tune using this tools)
Check out Renoise 2.0 and don't forget to spend some time in the In:Depth part...
They got quite an active community over there... quite worth looking!!
To finish the day I'd thought I'd post quite an handy e-book called: DIY Production for Begginers by Michael W. Dean and Chris Caulder.
Both these guys are very worth checking out!!!
Fantastic work for newbies and free/cheap resource guide!!!
...Does Fast Tracker (or even Octave) ring a bell??
Well it does to me.... (I actually tried to do my first tune using this tools)
Check out Renoise 2.0 and don't forget to spend some time in the In:Depth part...
They got quite an active community over there... quite worth looking!!
To finish the day I'd thought I'd post quite an handy e-book called: DIY Production for Begginers by Michael W. Dean and Chris Caulder.
Both these guys are very worth checking out!!!
Fantastic work for newbies and free/cheap resource guide!!!
Vocoder use in Reason
Just to keep'em coming frequently:
Just watched a nice tutorial on how to use the Reason vocoder in loops.
Quite nice I'd say!!!
Go have a look here.
(courtesy of Mo Volans in AUDIOTUTS)
.....just an extra that got me laughing out loud!!!
Some random dude posted a video on Youtube claiming to have downloaded a Super-secret beta build of Reason 5. (At this stage I must say I was in awe....)
(a mouse click and 3:37 min later)
I realized that it was in fact a clever and witty mockery on all the retards who are looking for the Holy Grail of ready-made music production..
But the really funny part is that there are some dudes who are really into it and start asking the prices and upgrade solutions from Reason 4....
Just Hilarious!!!
Just watched a nice tutorial on how to use the Reason vocoder in loops.
Quite nice I'd say!!!
Go have a look here.
(courtesy of Mo Volans in AUDIOTUTS)
.....just an extra that got me laughing out loud!!!
Some random dude posted a video on Youtube claiming to have downloaded a Super-secret beta build of Reason 5. (At this stage I must say I was in awe....)
(a mouse click and 3:37 min later)
I realized that it was in fact a clever and witty mockery on all the retards who are looking for the Holy Grail of ready-made music production..
But the really funny part is that there are some dudes who are really into it and start asking the prices and upgrade solutions from Reason 4....
Just Hilarious!!!
Jan 8, 2009
Some ground rules
I was thinking about some meta-duet-yourself issues...
We need to have project files and folders optimized for sharing. It takes a little obsessive-compulsive behaviour but it pays off in where's-Wally-sample-locating time. I don't mean to sound like I mastered the linguistics of folder creation but I think I have a pretty nice and ergonomical scheme going. And the software we use does require one, so here's my idea, obviously based on my set up.
I created a folder on my C: drive called musica. I installed all my music production related software in this folder, instead of in Program Files or Programas. This is not absolutelly necessary for sharing sakes, since the project file (be it reason's, audiomulch's, bidule's...) saves the pathway to the used files (samples, refills, vst's, etc), regardless of it's own location and I already came across a piece of software or two (namely freeware) that just gets a little annoyed with not being in Programas or Program Files.
But the pathways are the real bitch. I created a folder called vst in the musica folder for the obvious use. Most modern vst hosting software just needs a designated folder and does all the work by itself: bidule organizes vsts by instrument/effect criteria and then by programmer name and audiomulch preserves your own directory tree and finds the .dll down to at least four levels of subdirectories (tested). FL studio, however, makes you look for each plug-in you use by yourself at least once wich is a real pain and Muzys (for exmple) preserves the pathway to the vst and it goes berzerk if you move it somewhere else. I don't know how Cubase, Ableton and others manage plug-in hosting but we have one of two options: (1) we say 'screw it' and keep our own vst directories how we like 'em and plead to the programming gods that every software we use in the future is smart enough to detect plug-ins, despite the folder organization, or (2) we legislate about that and use, for example, my organization. I'm mostly inclined to crossing fingers and going for door #1 if your experience tells you that most sofware is cool with detecting plug-ins on the fly. However, going for door #1 might exclude someone in the future who uses dumb software...
For reason reffils, I just drop 'em in the general Reason folder. I have Reason installed in the musica/Propellerhead/Reason folder, but I can easily work around it if you have it installed in Programas and you're not into following my scheme in this chapter. One uniform scheme would be nice, though, if Duet Yourself includes other people. Again, two options: (1) screw it and future colaborators must pick up the pace if they want or (2) we "legislate" (my scheme, your scheme, other scheme...)
Samples are THE UBER BITCH and there's no "screw it" option here, since all software we use saves the pathway in the project file. So, no matter where we put 'em, we must go down the folder-creation-procedures road. I'm putting all samples of all projects I work in in specific project-related folders in C:/musica/samples and I find it pretty ergonomic to work with a sort of sample-central area that all software I use is led to find, so that all files used in a specific project (be it bidule, audiomulch, whatever) are all packed into that folder. This means that whenever I use a sample placed somewhere else, I must copy it to the work-in-progress sample-central folder and load it from there to the project file - yep, this means working with the Windows Explorer window always at hand's reach. This might seem like hard work but then again, that one folder is all we have to send (sample-wise) when it comes to sharing.
Ok, here's an example: let's say I'm working in a song called duetyourself. I must create a folder called duetyourself in the sample-central area folder. In my case, the pathway to this folder would be C:/musica/samples/duetyourself. I must now put every single sample file I use in the duetyourself song in this folder for the project files to find (again, be it reason, bidule, audiomulch or whatever I use) and this must also include .rex files that are not part of a reason refill. If I want to send you the duetyourself song for you to work in, I only need to send you the duetyourself folder I created, when it comes to samples. I also have to send you the project file, say duetyourself.rns, (and the plug-ins and reffils used that you might not have) but this file would only have pathways to the duetyourself folder. The sample-central area doesn't even need to be in the same place in our directory trees (if we're up to redirecting pathways there by hand) but the sample folder to that specific song must have all the used samples in one place, for ergonomy's sake.
This way, we would send each other a nice and tight little .zip or .rar file (with a password for unzipping to protect our god-given genius talents and authorship from unauthorized blog visitors) that would be ready to work in in no time.
Further versions of the song could be named by project number. Let's say you work on a version of the duetyourself song. You could send me back a duetyourself02.rns file and the updated duetyourself folder (with samples you added) and I could work on your version and create a duetyourself03 or improve the first version or whatever. By adopting these procedures, we could even be up to date with what the other one is doing. Updating our version of what the other one did (say, last night) would be totally fuss-free and fast. By the way, another nice linguistics thing to do would be to keep the format we regularly use for naming loop files: name_bars_bpms.wav or (name_bars_bpms.rex). No need for it in one-hit samples, though.
Another meta-duet-yourself issue: the Duet Yourself name is kinda settling in, isn't it? I say we're christened!
We need to have project files and folders optimized for sharing. It takes a little obsessive-compulsive behaviour but it pays off in where's-Wally-sample-locating time. I don't mean to sound like I mastered the linguistics of folder creation but I think I have a pretty nice and ergonomical scheme going. And the software we use does require one, so here's my idea, obviously based on my set up.
I created a folder on my C: drive called musica. I installed all my music production related software in this folder, instead of in Program Files or Programas. This is not absolutelly necessary for sharing sakes, since the project file (be it reason's, audiomulch's, bidule's...) saves the pathway to the used files (samples, refills, vst's, etc), regardless of it's own location and I already came across a piece of software or two (namely freeware) that just gets a little annoyed with not being in Programas or Program Files.
But the pathways are the real bitch. I created a folder called vst in the musica folder for the obvious use. Most modern vst hosting software just needs a designated folder and does all the work by itself: bidule organizes vsts by instrument/effect criteria and then by programmer name and audiomulch preserves your own directory tree and finds the .dll down to at least four levels of subdirectories (tested). FL studio, however, makes you look for each plug-in you use by yourself at least once wich is a real pain and Muzys (for exmple) preserves the pathway to the vst and it goes berzerk if you move it somewhere else. I don't know how Cubase, Ableton and others manage plug-in hosting but we have one of two options: (1) we say 'screw it' and keep our own vst directories how we like 'em and plead to the programming gods that every software we use in the future is smart enough to detect plug-ins, despite the folder organization, or (2) we legislate about that and use, for example, my organization. I'm mostly inclined to crossing fingers and going for door #1 if your experience tells you that most sofware is cool with detecting plug-ins on the fly. However, going for door #1 might exclude someone in the future who uses dumb software...
For reason reffils, I just drop 'em in the general Reason folder. I have Reason installed in the musica/Propellerhead/Reason folder, but I can easily work around it if you have it installed in Programas and you're not into following my scheme in this chapter. One uniform scheme would be nice, though, if Duet Yourself includes other people. Again, two options: (1) screw it and future colaborators must pick up the pace if they want or (2) we "legislate" (my scheme, your scheme, other scheme...)
Samples are THE UBER BITCH and there's no "screw it" option here, since all software we use saves the pathway in the project file. So, no matter where we put 'em, we must go down the folder-creation-procedures road. I'm putting all samples of all projects I work in in specific project-related folders in C:/musica/samples and I find it pretty ergonomic to work with a sort of sample-central area that all software I use is led to find, so that all files used in a specific project (be it bidule, audiomulch, whatever) are all packed into that folder. This means that whenever I use a sample placed somewhere else, I must copy it to the work-in-progress sample-central folder and load it from there to the project file - yep, this means working with the Windows Explorer window always at hand's reach. This might seem like hard work but then again, that one folder is all we have to send (sample-wise) when it comes to sharing.
Ok, here's an example: let's say I'm working in a song called duetyourself. I must create a folder called duetyourself in the sample-central area folder. In my case, the pathway to this folder would be C:/musica/samples/duetyourself. I must now put every single sample file I use in the duetyourself song in this folder for the project files to find (again, be it reason, bidule, audiomulch or whatever I use) and this must also include .rex files that are not part of a reason refill. If I want to send you the duetyourself song for you to work in, I only need to send you the duetyourself folder I created, when it comes to samples. I also have to send you the project file, say duetyourself.rns, (and the plug-ins and reffils used that you might not have) but this file would only have pathways to the duetyourself folder. The sample-central area doesn't even need to be in the same place in our directory trees (if we're up to redirecting pathways there by hand) but the sample folder to that specific song must have all the used samples in one place, for ergonomy's sake.
This way, we would send each other a nice and tight little .zip or .rar file (with a password for unzipping to protect our god-given genius talents and authorship from unauthorized blog visitors) that would be ready to work in in no time.
Further versions of the song could be named by project number. Let's say you work on a version of the duetyourself song. You could send me back a duetyourself02.rns file and the updated duetyourself folder (with samples you added) and I could work on your version and create a duetyourself03 or improve the first version or whatever. By adopting these procedures, we could even be up to date with what the other one is doing. Updating our version of what the other one did (say, last night) would be totally fuss-free and fast. By the way, another nice linguistics thing to do would be to keep the format we regularly use for naming loop files: name_bars_bpms.wav or (name_bars_bpms.rex). No need for it in one-hit samples, though.
Another meta-duet-yourself issue: the Duet Yourself name is kinda settling in, isn't it? I say we're christened!
A friend of mine....
.... just borrowed me a Wacom tablet!!!!
Can't wait to start Biduling with it!!!
A couple of days ago I went through tutorial 4 of Front and Back and gave a huge step forward in understanding the B-Motherfucker..
I urge you to it ASAP!!! The tutorials are F-Amazing!!!!
Another good thing about the tablet is that I can now make speedy diagrams of ideas of midi/audio routing and post them here very very quickly!!!!
By the way, how's your Bidule level? have you gone deeper in it?
PS: Friday @Tuatara Lounge: "She'll Out Sessions II" . The feminine side of chill out!!! Some friends of mine are playing there!!
Starts at 23h, price tag €7 w/ beer!!
Can't wait to start Biduling with it!!!
A couple of days ago I went through tutorial 4 of Front and Back and gave a huge step forward in understanding the B-Motherfucker..
I urge you to it ASAP!!! The tutorials are F-Amazing!!!!
Another good thing about the tablet is that I can now make speedy diagrams of ideas of midi/audio routing and post them here very very quickly!!!!
By the way, how's your Bidule level? have you gone deeper in it?
PS: Friday @Tuatara Lounge: "She'll Out Sessions II" . The feminine side of chill out!!! Some friends of mine are playing there!!
Starts at 23h, price tag €7 w/ beer!!
Jan 7, 2009
Porter Ricks - Biokinetics (Chain Reaction, 1996)
This is what I call band-reject music: Only deep-underwater, neighbour-annoying bass and metallic high frequency stabs and sweeps. Here's how to do it.
Jan 6, 2009
A couple of days of ago, when googling for 'Kit Clayton', I stumbled on a quite lengthy interview he gave Critical Artware, about Max, electronic music aesthetics, autorship and postmodernism. Have you ever wondered what an Experimental-Dub-Max-Programmin'-Uber-Lord looks like? Well, click here.
Although I could be just talking to myself...
... I recommend registering in the correspondent Forums and Groups of the tools you use.
If you find a new tutorial, a new trick or just some well hidden site or newsgroup please post it so we can all benefit from it..
I'll start posting this blog in some of them in the near future to see if we can collect some feedback.
If you find a new tutorial, a new trick or just some well hidden site or newsgroup please post it so we can all benefit from it..
I'll start posting this blog in some of them in the near future to see if we can collect some feedback.
Jan 5, 2009
Hi there....
Unfortunately, no time for lengthy posts...
Will do so in a very near future!!!
The season is officially open!!!
For your sequencing/programming delights here goes a xls file with scales-a-plenty...
Indexed_Scales.xls
Have fun!
Will do so in a very near future!!!
The season is officially open!!!
For your sequencing/programming delights here goes a xls file with scales-a-plenty...
Indexed_Scales.xls
Have fun!
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