I play a few things, but I mostly concentrate on my Epiphone Viola bass. I still don't have a real amplifier for it; it's plugged into the microphone jack on my stereo. I also use the stereo as speakers for my PC, so I usually play along with whatever music I have playing. I find bass to be the easiest instrument to do this with, so that's probably a factor in the frequency of its use. I don't have one, but I like echo pedals. It's fun to play with oneself.
yea, I've been doing music since I was 8 or something like that. Play bass mostly, but I don't really establish boundaries with what I will and won't play.
Cripes, very nice. I have an Edirol PCR-30 for general purpose MIDI stuff and a Farfisa 4020 organ (in need of service), but I've always wanted an electric piano. A Pianet N, perhaps.
Not pictured was the Roland jp8080 synthesizer, an 88 Key electric piano, and a Shure SM58 vocal mic, and of course my bass.
OMFG!! JP8080 ...... :droool:
i had to leave sydney suddenly and my (ex?) girlfriend's brother is keeping(?) my Roland Juno 60 for me
i used to have a powermac g5 1.6ghz will m-audio keyboard and m-audio monitoring speakers. then i realised i had to start producing some hit dance tracks within 3 months to pay for all the gear otherwise i would start running out of money
i think i made the jump from hobby to potential career a bit too agressively \
and the irony? i was able to find that 'perfect trance sound' sometime in february this year after 'looking' for it for 5+ years.... and it was on *drum roll* an iBook g4 933mhz with 256mb ram and Panther. (garageband samples, ableton live4, reason samples, an OLD midi keyboard and a very very dodgy midi-usb converter thingy)
Lately I've been doing a lot of experimentation with breakbeats and glitch type stuff. I'm currently in the process of trying to weave chaos breaks in with pop music(emo comes to mind).
But alongside that I also make lots of 'nice' music, relaxing, easy to listen to.
Alongside that I also make video game covers from time to time.
I also write solo bass music, and I've tried my hand at process music a little.
I'd like to try and make some rock music, but it's difficult because midi drums just don't do rock justice.
I'm actually in a band and just finished mixing the best thing I've ever recorded. You can check out my band the dopes here if you are interested. I do some home recording, but the band stuff has to go to a bigger studio. I just upgraded my sound card to an M-Audio firewire interface with 8 inputs or so and got the pro tools m-powered software. Pretty cool, but I haven't had much time to play with it yet. What I'm really looking to do is get a laptop based rig going so I can record rehearsals etc.....
I'd like to try and make some rock music, but it's difficult because midi drums just don't do rock justice.
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
For source elements, I sampled a small, properly tuned (DW) drumset...kick, snare, 2 rack toms, hihat, a crash and ride cymbal using a large diaphragm condenser microphone for the kick, snare and toms, and a pair of small diaphragm condenser mics for the overhead/cymbals samples (stereo works well for overheads). One of the keys to getting programmed (sampled) drums not to sound mechanical and "beat boxish" is to take numerous samples of each drum...as many as you can can...sample memory is the only consideration here. Ideally, record many (I use 128 ) different samples of each drum, (most important for snare and toms) from very soft to as loud as you can...hitting many different places on the drum head as well....and make sure you get lots of samples for the 'normal volume' hits. Structure a sample map so midi velocity data increments trigger corresponding louder samples for each drum. (There are many reasons to use multisamples for each drum... it helps to prevent listening fatigue...avoiding the 'drum machine' thing where you are always firing the same sample back each hit. Also, when programming fills and rolls, alternate between samples on each drum element, and make sure the decay on each sample doesn't do a "brickwall" cut off on firing the next hit..this envelope decay cut-off gives a fast snare or tom fill sound like a machine gun...very beat-box-like, a dead giveaway and sounds horrible! Fills are really difficult to program to make them sound authentic...you will have to experiment with that all important decay time on each fill element. It's definitely time consuming. It's really hard to try and describe all this stuff in a short paragraph, but thats the general idea, although theres lots more variables and parameters to mess with once the parts are entered into a sequencer program. If you 'quantize' the parts so they are "perfectly" in time...this takes away from the subtle timing variations that a human drummer makes....so try sliding the kick and snare parts relative to each other in time (just a tiny amount..a few ticks either way)...and listen to the way the 'feel' changes...from 'lazy' to 'on top of the beat'. Also, once recorded, one of the characteristics of a great drum sound is the sound of the room/hall....so judicious use of a suitable (high quality) digital reverb algorithm on the computer, or better still, high quality dedicated reverb hardware is essential. Also, pan the drums realistically also...kick and snare somewhere around the center, the toms center-left and center-right (not panned hard left and right, a drumset isn't 50 feet across!)..and the (stereo) cymbal samples as a stereo pair, hard left and right. Once you have the set programmed up and sounding sweet, you wont have to wait on drummers that dont show up on time, you won't have to pay union rates, and drum sample maps don't fight, get drunk or take huge quantities of dangerous drugs.
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
For source elements, I sampled a small, properly tuned (DW) drumset...kick, snare, 2 rack toms, hihat, a crash and ride cymbal using a large diaphragm condenser microphone for the kick, snare and toms, and a pair of small diaphragm condenser mics for the overhead/cymbals samples (stereo works well for overheads). One of the keys to getting programmed (sampled) drums not to sound mechanical and "beat boxish" is to take numerous samples of each drum...as many as you can can...sample memory is the only consideration here. Ideally, record many (I use 128 ) different samples of each drum, (most important for snare and toms) from very soft to as loud as you can...hitting many different places on the drum head as well....and make sure you get lots of samples for the 'normal volume' hits. Structure a sample map so midi velocity data increments trigger corresponding louder samples for each drum. (There are many reasons to use multisamples for each drum... it helps to prevent listening fatigue...avoiding the 'drum machine' thing where you are always firing the same sample back each hit. Also, when programming fills and rolls, alternate between samples on each drum element, and make sure the decay on each sample doesn't do a "brickwall" cut off on firing the next hit..this envelope decay cut-off gives a fast snare or tom fill sound like a machine gun...very beat-box-like, a dead giveaway and sounds horrible! Fills are really difficult to program to make them sound authentic...you will have to experiment with that all important decay time on each fill element. It's definitely time consuming. It's really hard to try and describe all this stuff in a short paragraph, but thats the general idea, although theres lots more variables and parameters to mess with once the parts are entered into a sequencer program. If you 'quantize' the parts so they are "perfectly" in time...this takes away from the subtle timing variations that a human drummer makes....so try sliding the kick and snare parts relative to each other in time (just a tiny amount..a few ticks either way)...and listen to the way the 'feel' changes...from 'lazy' to 'on top of the beat'. Also, once recorded, one of the characteristics of a great drum sound is the sound of the room/hall....so judicious use of a suitable (high quality) digital reverb algorithm on the computer, or better still, high quality dedicated reverb hardware is essential. Also, pan the drums realistically also...kick and snare somewhere around the center, the toms center-left and center-right (not panned hard left and right, a drumset isn't 50 feet across!)..and the (stereo) cymbal samples as a stereo pair, hard left and right. Once you have the set programmed up and sounding sweet, you wont have to wait on drummers that dont show up on time, you won't have to pay union rates, and drum sample maps don't fight, get drunk or take huge quantities of dangerous drugs.
You don't need to lecture me about experimenting with midi, it's what I do pretty much all day everyday. I am very competent with drumming on the keyboard and programming rhythms into a step based sequencer, I have even experimented at length with creating live-ish sounding drum kits that I have been pleased with(and that I have fooled people with). But ultimately, I just don't really care enough about rock music, which is the REAL reason I don't make it
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
While I use a drum machine and play around with loops etc. me thinks you must not have ever played with a great drummer. It's far easier and a hell of a lot more fun to just play with a kick ass drummer!
You don't need to lecture me about experimenting with midi, it's what I do pretty much all day everyday. I am very competent with drumming on the keyboard and programming rhythms into a step based sequencer, I have even experimented at length with creating live-ish sounding drum kits that I have been pleased with(and that I have fooled people with). But ultimately, I just don't really care enough about rock music, which is the REAL reason I don't make it
I cant read your mind...I was only trying to help. Sorry I spoke.
Comments
The chorus and delay are going through the effects loop between the pre-and power amp.
It sounds better that way.
here's a picture of my new recording setup
Here is my guitar setup.
I am getting into the studio thing now.
I want to get a Shure SM57 to mic the amp
The 57 is better for instruments IMHO.
Originally posted by Wrong Robot
Not pictured was the Roland jp8080 synthesizer, an 88 Key electric piano, and a Shure SM58 vocal mic, and of course my bass.
OMFG!! JP8080 ...... :droool:
i had to leave sydney suddenly and my (ex?) girlfriend's brother is keeping(?) my Roland Juno 60 for me
i used to have a powermac g5 1.6ghz will m-audio keyboard and m-audio monitoring speakers. then i realised i had to start producing some hit dance tracks within 3 months to pay for all the gear otherwise i would start running out of money
i think i made the jump from hobby to potential career a bit too agressively
and the irony? i was able to find that 'perfect trance sound' sometime in february this year after 'looking' for it for 5+ years.... and it was on *drum roll* an iBook g4 933mhz with 256mb ram and Panther. (garageband samples, ableton live4, reason samples, an OLD midi keyboard and a very very dodgy midi-usb converter thingy)
oh yea...
Those little Boss pedals are great.
I like all kinds of music.
http://www.icompositions.com/artists/Wrao/
Lately I've been doing a lot of experimentation with breakbeats and glitch type stuff. I'm currently in the process of trying to weave chaos breaks in with pop music(emo comes to mind).
But alongside that I also make lots of 'nice' music, relaxing, easy to listen to.
Alongside that I also make video game covers from time to time.
I also write solo bass music, and I've tried my hand at process music a little.
I'd like to try and make some rock music, but it's difficult because midi drums just don't do rock justice.
edit: screwed up my own url
Originally posted by Wrong Robot
You tell me(this is only half of it)
I'd like to try and make some rock music, but it's difficult because midi drums just don't do rock justice.
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
For source elements, I sampled a small, properly tuned (DW) drumset...kick, snare, 2 rack toms, hihat, a crash and ride cymbal using a large diaphragm condenser microphone for the kick, snare and toms, and a pair of small diaphragm condenser mics for the overhead/cymbals samples (stereo works well for overheads). One of the keys to getting programmed (sampled) drums not to sound mechanical and "beat boxish" is to take numerous samples of each drum...as many as you can can...sample memory is the only consideration here. Ideally, record many (I use 128 ) different samples of each drum, (most important for snare and toms) from very soft to as loud as you can...hitting many different places on the drum head as well....and make sure you get lots of samples for the 'normal volume' hits. Structure a sample map so midi velocity data increments trigger corresponding louder samples for each drum. (There are many reasons to use multisamples for each drum... it helps to prevent listening fatigue...avoiding the 'drum machine' thing where you are always firing the same sample back each hit. Also, when programming fills and rolls, alternate between samples on each drum element, and make sure the decay on each sample doesn't do a "brickwall" cut off on firing the next hit..this envelope decay cut-off gives a fast snare or tom fill sound like a machine gun...very beat-box-like, a dead giveaway and sounds horrible! Fills are really difficult to program to make them sound authentic...you will have to experiment with that all important decay time on each fill element. It's definitely time consuming. It's really hard to try and describe all this stuff in a short paragraph, but thats the general idea, although theres lots more variables and parameters to mess with once the parts are entered into a sequencer program. If you 'quantize' the parts so they are "perfectly" in time...this takes away from the subtle timing variations that a human drummer makes....so try sliding the kick and snare parts relative to each other in time (just a tiny amount..a few ticks either way)...and listen to the way the 'feel' changes...from 'lazy' to 'on top of the beat'. Also, once recorded, one of the characteristics of a great drum sound is the sound of the room/hall....so judicious use of a suitable (high quality) digital reverb algorithm on the computer, or better still, high quality dedicated reverb hardware is essential. Also, pan the drums realistically also...kick and snare somewhere around the center, the toms center-left and center-right (not panned hard left and right, a drumset isn't 50 feet across!)..and the (stereo) cymbal samples as a stereo pair, hard left and right. Once you have the set programmed up and sounding sweet, you wont have to wait on drummers that dont show up on time, you won't have to pay union rates, and drum sample maps don't fight, get drunk or take huge quantities of dangerous drugs.
Originally posted by sammi jo
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
For source elements, I sampled a small, properly tuned (DW) drumset...kick, snare, 2 rack toms, hihat, a crash and ride cymbal using a large diaphragm condenser microphone for the kick, snare and toms, and a pair of small diaphragm condenser mics for the overhead/cymbals samples (stereo works well for overheads). One of the keys to getting programmed (sampled) drums not to sound mechanical and "beat boxish" is to take numerous samples of each drum...as many as you can can...sample memory is the only consideration here. Ideally, record many (I use 128 ) different samples of each drum, (most important for snare and toms) from very soft to as loud as you can...hitting many different places on the drum head as well....and make sure you get lots of samples for the 'normal volume' hits. Structure a sample map so midi velocity data increments trigger corresponding louder samples for each drum. (There are many reasons to use multisamples for each drum... it helps to prevent listening fatigue...avoiding the 'drum machine' thing where you are always firing the same sample back each hit. Also, when programming fills and rolls, alternate between samples on each drum element, and make sure the decay on each sample doesn't do a "brickwall" cut off on firing the next hit..this envelope decay cut-off gives a fast snare or tom fill sound like a machine gun...very beat-box-like, a dead giveaway and sounds horrible! Fills are really difficult to program to make them sound authentic...you will have to experiment with that all important decay time on each fill element. It's definitely time consuming. It's really hard to try and describe all this stuff in a short paragraph, but thats the general idea, although theres lots more variables and parameters to mess with once the parts are entered into a sequencer program. If you 'quantize' the parts so they are "perfectly" in time...this takes away from the subtle timing variations that a human drummer makes....so try sliding the kick and snare parts relative to each other in time (just a tiny amount..a few ticks either way)...and listen to the way the 'feel' changes...from 'lazy' to 'on top of the beat'. Also, once recorded, one of the characteristics of a great drum sound is the sound of the room/hall....so judicious use of a suitable (high quality) digital reverb algorithm on the computer, or better still, high quality dedicated reverb hardware is essential. Also, pan the drums realistically also...kick and snare somewhere around the center, the toms center-left and center-right (not panned hard left and right, a drumset isn't 50 feet across!)..and the (stereo) cymbal samples as a stereo pair, hard left and right. Once you have the set programmed up and sounding sweet, you wont have to wait on drummers that dont show up on time, you won't have to pay union rates, and drum sample maps don't fight, get drunk or take huge quantities of dangerous drugs.
You don't need to lecture me about experimenting with midi, it's what I do pretty much all day everyday. I am very competent with drumming on the keyboard and programming rhythms into a step based sequencer, I have even experimented at length with creating live-ish sounding drum kits that I have been pleased with(and that I have fooled people with). But ultimately, I just don't really care enough about rock music, which is the REAL reason I don't make it
Try it. Study what rock drummers do, analyze the structure of the rhythms and then program the parts into a midi recorder. Here's how I do it .. it's a little laborious getting the source elements, but once done, you can get very realistic and usable results.
While I use a drum machine and play around with loops etc. me thinks you must not have ever played with a great drummer. It's far easier and a hell of a lot more fun to just play with a kick ass drummer!
Except for his mom when he doesn't clean her basement.
Originally posted by Wrong Robot
You don't need to lecture me about experimenting with midi, it's what I do pretty much all day everyday. I am very competent with drumming on the keyboard and programming rhythms into a step based sequencer, I have even experimented at length with creating live-ish sounding drum kits that I have been pleased with(and that I have fooled people with). But ultimately, I just don't really care enough about rock music, which is the REAL reason I don't make it
I cant read your mind...I was only trying to help. Sorry I spoke.