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tristancalvaire

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  1. Thanks. So, there's no way for Logic to allow you to edit the true 'Beats Per Minute' rather than the misnamed 'Quarter Notes Per Minute'?
  2. Hi, long time no see– Am I missing something, or does Logic handle BPM poorly in compound time signatures? Let's say I'm in 12/8, and want to get a BPM of 110. In 12/8, dotted quarters get the beat. However, Logic ignores this- 1/4 notes sound at 110 BPM, but dotted 1/4s are slower. It seems as if 'Beats per Minute' is a misnomer meaning 'quarter notes per minute.' It's not the end of the world (I just multiply my desired BPM by 1.5 and set that as the BPM) but it's irritating and had me scratching my head for a while.
  3. Hi, I'm pretty sure this has been asked a million times, but I can't find an answer to it. Whenever I create a new software instrument track, it defaults to the E-Piano being bussed to do different reverb channels. I'd prefer to start with a blank slate- something like, no busses with ES2 loaded up. Is this doable?
  4. Eriksimon, I don't know, that actually sounds like a good strategy. Mr. Godot told me to tell you he won't come this evening but surely tomorrow.
  5. Load up a supersaw patch in your pirated software. Pick a note. Add in some eighth note pattern for a measure. Loop it eight times, convert the loops to regions, make the last note go down a half step. Merge regions. Loop it again, convert to a region, make the last measure play a minor arpeggio. Merge again, loop it four times, convert to regions, merge. Starting at the 33rd measure, use hyperdraw to add in a linear pitch bend from there to the end of your region. Run the result into a crappy distortion and then highpass it. Do this for every song. Always do it at 128 BPM. Just change the rhythm slightly and the key for each new track. BTW, patience is a virtue- you're not entitled to help.
  6. Sadly my speakers are packed up in preparation for moving; I'm listening on Audio Technica ATH-M50s. I know that it's truly softer in the mix- audibly, visually on spectrum graphs, and because part of the sub is coming from the EQ almost self-oscillating (at a narrow band around a harmonic of A).
  7. I think it's a bit unfair to label all of his music as dance music; of course most of the albums he publishes are dance-y (especially when you just listen to the radio edits) but he does a ton of incorporating non-standard rhythms, samples and recordings of many obscure acoustic instruments/household objects/his daughter even on said albums. I don't even think a single track off of 'This Binary Universe' is something I could dance to- it's more sitting back, relaxing and thinking music. These Hopeful/Humble Machines did seem to be a lot of dance pandering, yeah. A Song Across Wires though seems to really capture the balance between dance tunes and BT's classical and jazz study influences though, especially if you listen to his full album mix. My neighbor's dog's son listened to it while on copious amounts of psychedelic drugs and experienced ego death followed by an out of body experience where he was transported to a garden representing all of human knowledge; He began to think about how much progress humans had to be made for him to hear this album. Concepts of harmony had to be invented, polyphonic instruments like the piano had to be popularized and many composers had to set the foundations of music so that they could be broken. Electricity came about, and studies of magnetism lead to the discovery that sound could be captured as electrical amplitude over time. Research into radio transmission combined with oscillator units designed to test electrical circuits had to be done (and the very same research lead to the invention of the internet from which I acquired the album and spoke to the friend who recommended me it). Some crazy individuals had to decide that their synthesizer units actually had a pleasant sound when pitched to musical notes, and they began composing with them. The early 20th century invention of mass production allowed for synthesizers to be sold to the common man (if he could save up a couple grand). Disco came around and incorporated the synth into itself, leading to electronic-influenced music's popularization; studio engineers began using scissors and glue to perfect song's timings, while some began to rewind and chop up tape as a creative tool. Digital electronics were invented, which made recording and processing sounds easier for the artist, as well as allowed for mass distribution of albums due to the easily copyable nature of bites. Cutting up sounds for quantization now took minutes or seconds rather than hours; synth patches and effect buses could be created with a bit of mouse clicking rather than excessive cable wiring. Audio CD players were clunky, haphazard and didn't like being drove around in a car; bumps in the road or scratches on a disc caused buffer issues that would loop chunks of a song for a few moments. People came to the realization that this sound could be pleasant and began incorporating it into their music; these people being those who had continued the disco spirit with the invention of turntablism, dance music and rave culture. They laid the foundation for artists like Daft Punk or Eiffel 65 to come along- the very bands that got me into electronic music in the first place. Meanwhile, the artist BT began drawing on the influence of classical and jazz musicians he'd studied at Berklee, to fuse the modern electronic sound with more standard theory. There's so much more than what I've listed that went into the production of every song on the album, as well as many more inventions and tools humankind had to invent to create the record. It's such a gigantic concept to think about, and BT's "A Song Across Wires" was what inspired such thoughts. I... err, my neighbor's dog, spent a while composing with just sine waves after the album mix had finished. He wanted to go back to the basics, and found an intense joy in the rhythms harmonies would form by beating against each other. Never before had he found mere ratios of two, maybe three frequencies to be so exciting. He also began to ponder where in time he was actually hearing music; given how sound is the manipulation of time itself via energetic vibrations (much akin to the vibrations that made up the very atoms of his body, as well as the electrical energy in his brain formulating these thoughts), time felt so null. It was as if he could fast-forward and rewind the world around him like a tape player; He could travel to all the potentials of the future, including finally getting to meet for the first time with the German audio engineer studying vocal noise suppression who'd shown him the album. It was very uplifting, and transcendent of himself; when the experience finally faded, he was left with an intense desire to learn about the world via studying past inventions and experimenting in the present. Long story short- if BT wants a 96-channel mixer, so be it; if he says Logic Pro X is promising, then I'd definitely jump on the bandwagon.
  8. I posted a thread on a slightly similar topic ages ago, but it was more of a stereo image issue so I created this new thread. If admins feel the topics are too similar feel free to merge 'em. Hey all- I actually managed to create a really great mix between my kick drum and bassline for the first time. Via layering two kick samples (A very punchy sampled blip, with a synthesized low-end added in that I tailored to the first sample), running my electric bass sampler instrument into a multi-band distortion, a bit of EQ work and some sidechain compression on the bass, I managed to create a combo where the kick retains a nice punch that melds right into the bass's low-end without clipping. There's a problem though- the perfection only happens on the root note of my song due to how sharp my EQ bands are. Widening them causes me to clip, the mix to get muddy and either the bass disappears or the kick loses its punch. It actually adds some swing to the rhythm so I might retain it; the song begins just repeating one chord, but eventually gets into a four chord progression. The bass has a strong sub for the first measure, with a slightly weaker but even sub for the following three chords/measures. However, I'm curious how I could go about perfecting the sub to be even regardless of chord. I've considered a few options- 1. For the chordal part of the song, multi-band compress the sub back to a consistent level for all four chords, then gain it (perhaps with a low shelf?) 2. Spend a lot of time automating EQ bands for each note (they were set originally by googling the hertz values for harmonics of the song's root note) 3. Bounce the 'perfected' electric bass note (without the sidechaining) and resample it into EXS24 and pitch it there (issues would be weird distortions of the sampler slowing it down / speeding it up...) 4. Combine 2 and 3, bouncing a sample of each note 'perfected' for the sampler. I'm curious as to what a well-trained engineer might try- please share your thoughts!
  9. Ah- so it's an 'intelligent' sequence generator? What I'm envisioning here is musically useful Magic Garageband for drum patterns. Same idea?
  10. Simple question, I have no idea what it is and have forgotten Google's existence. Is it some sort of drum pattern sequencer? Drum kit sampler?
  11. Absolutely love the song! I should probably start another thread on the topic, but I'm curious what this whole 'Drummer' thing is in Logic Pro X- is it a drum pattern generator? Like, something that will automatically change velocities and whatnot to math what a drummer would do in a certain styling?
  12. You know you're REALLY bored when you start writing traditional four-part harmonies. https://dl.dropboxusercontent.com/u/1715217/strings.m4a I was incredibly tired and started writing some chords. I'm curious as to if there's any weird voice leading going on here or any points that you feel could use improvement. I'm not sure if I managed to modulate to the relative minor or if I just end on a deceptive cadence, but regardless the ending is supposed to feel tense (I *guess* it'd traditionally be continued from this point- no ending 'til you're at a PAC) There are two elongated pauses in the piece (like at 0:44ish) that I just didn't know how to go about doing within the context of a DAW like Logic. I forget the term for what I was trying to do, basically I just wanted the music to slow down and wait a little. A fermata on a rest maybe? *shrug*
  13. Je ne parle pas Français bien mais j'adore artistes français!
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