1910 - synths started 1920-50 - modular synths 1960-70 - golden age of synthesizers for old rock musicisans 1980 - the age of dco rebels + new wave 1990 - height of synths, dx7, need i say more? 2000 - synths are still good 2001-06 - synths are changing 2007 - phase of vsts and some other shit that was forgetful 2008 - some crappy synths starting to appear 2009 - crappy synths are spreading, fast 2010 - you gotta be kidding me, roland gaia? realllyyyyyyyyy? 2011 - R.I.P SYNTHS
I was wondering, since Aphex Twin has a massive cult following, why isn't his music replicated a lot? I mean it sounds really easy to make
Radiohead did use some of that influence but I can't really think of many electronic acts to actually replicate him like they would do with many other important bands
If I'm wrong, show me some Aphex Twin replicas
looking at the Gaia right now and i'm salivating. someone tell me what's the problem so I don't have to dream of what could be if i had more money
Seems like a typical breakbeat sped up then sped down, some drum rolls, pauses, some samples here and there, some effects
Though I admit you did give me one with enough variation that's not quite straighforward at all. But most on his main albums isn't quite difficult to do I would say.
He programmed that whole thing though. Thus the name "Taking Control", ie taking control of his drum machines. You can hear various drum machine samples through out the song.
>Some samples some effects
You can say this about any song. The part that's difficult about Aphex Twin is that a lot of those weird breaks and patterns are sequenced, he doesn't just throw in some "repeat effect" and call it a day. He has a lot of weird ways he morphs and changes his sounds. Not to mention the ridiculous amount of gear he uses to get his sound.
I'm still confused as to why you think this is easy. Could you make something similar? I'm interested.
There are lots of artists that sound similar to his Analord stuff. Artists like Dave Monolith, Jodey Kendrick, EOD and the like, influenced by AFX and the wider Rephlex roster. Rich obviously likes them because he ended up signing them to Rephlex as well.
As for Rich's music, some is replicable, some is a lot harder to replicate. There is a lot of detail in his music that isn't immediately apparent that contribute to the overall quality. Like BoC, I think Rich goes in to painstaking detail with each little element of his tracks, he's a perfectionist.
If it's so easy to replicate, you're free to go ahead and try and post results here.
What do you guys think of the R-8? someone on my local craigslist is selling it for 100 bucks and I kinda want a drum machine
using ableton to make some deep house, keep getting clicking when side chaining, is this just because ableton compressors suck or what can i do to prevent it?
also my new song if anyone wants to give feedback that would be cool
Five seconds googling.
Seriously, if you think it's so easy, why don't you make it? Like, even one copy of a song.
Literally, you should be able to do this and prove it to us if it's actually easy to do. If you say you can't do it, then obviously you're wrong, no?
Fuckin' trolls, man...
WHY DO THE MS20 MINI AND MICROBRUTE ONLY HAVE MIDI IN, WHEN THEY WOULD BE SUCH AMAZINGLY GOOD CONTROLLER FOR OTHER SYNTHS????
Guess I'm just gonna have to get an arturia beatstep or something to control shit, fml. Really want a module like the lancet and another cheap analog synth that has keys and MIDI Out, though, fuuuuck....
To quote a user on their forums,
>That's very frustrating with Reaper: you know the functionality is hidden somewhere, but you have to be a wizard to make it appear from your hat!
>I know. It's the price you pay for not having someone decide your workflow for you and the ability to improvise methods for specific needs that arise. It's generally easier to create a workflow paradigm and tailor all pieces of the software to that. Many programs do that very well. But it also means that whenever you want or need to go outside of that paradigm things get very difficult or impossible. REAPER is on the opposite side of the scale. A bunch of nuts and bolts that (mostly) all fit together. You can do almost anything, somehow at least, but it also means the easiest tasks can be daunting until you've set up your flow for it. Then it can blazingly fast.
>If the other DAWs are Ferraris and BMWs then REAPER is the army Hummer with a .50 cal machine gun up top. :)
Recording some neato ideas I had this morning. Wondering if I should sell/trade my juno for a different analog poly.
I wish they had done the opposite actually. I think a rack mounted module like they did with the ms2000r would have been neat if they could even make it a bit cheaper.
MS20 Mini doesn't even respond to velocity messages at all.
I would be happy if it could just send pitch messages to other synths. It fucking sucks because if I get one and get, say, a pulse 2 or blofeld or something, I can't play the module with the ms20 mini or microbrute. It's bullshit.
Oh well, not like I'm gonna play multiple synths live anyways, mostly do my stuff in the studio. If I play live I think I'll just use the MS20-Mini by itself, fuck it.
I'd actually probably buy a lancet but as much as I like the pulse I dont think I'd get one.
Honestly I just want an analog poly with a FUCKTON of quick modulation options because I usually use my juno to flex out ideas before I forget them.
Honestly the juno is really the perfect thing for my workflow I could ever ask for aside from a juno 60 with a midi retrofit or a poly 61. Or a mono-poly.
That would be fine too, though honestly I wouldn't mind paying even an extra like, $50 for a MIDI Out.
I want to keep my setup as minimal as possible, was really hoping I could figure out a (at least mostly) analog live setup that could fit in a backpack. I wanted that to be the microbrute + pulse 2, but no dice.
Probably gonna just have to spend the extra $200 and get the minibrute + pulse 2 instead, with a korg ER-1 for the drums.
Build your own gear. Sample everything. Deconstruct it. Reconstruct it. Chop it to pieces. Put those pieces back together in a different order. Try and put the pieces together again.
Industrial's great in that, there's no real wrong answer.
Just buy another keyboard to control all of them damn it. Alesis Q49, Roland A300/500 and M-Audio Axiom 49s all have MIDI outs. Either play them with the keyboard through your computer with a M-Audio MIDIsport interface or without the computer with a Quadra Thru
Get a nice microphone/audio interface (Shure SM58 is good enough and cheap), and probably a VA with a good distortion effect.
I made this all in NanoStudio that way (though I didn't even use a mic, I took drum samples and manipulated the fuck out of them), it's free, if you think this is "industrial" enough for you, you could try it too:
Where did you see that? Are you sure you aren't looking at the Filter Lancet? They're about £350 in the UK which is just a bit cheaper than a Minibrute.
It's limited in terms of modulation (you need to buy the expander to control it with eurorack equipment if you need more modulation), but it sounds fantastic. Similar to old Roland monos but with a nice creamy Moog-like filter.
Check the demos in this review:
Fair enough. Any particular reason why?
I ask because I plan on getting a P2 after I save up enough money, but I'm still debating between it or something like the ms20 mini. Just hearing your opinion on what you don't like about it might help me decide, I don't mind that it's your subjective opinion, but it'd be very useful to get more specifics instead of just "i don't like it". If you could elaborate a bit more, I'd really appreciate it.
So a lot of stuff I tend to experiment with is very hazy/chilled out type stuff with sharper yet distand leads thrown in and I really thought that I would like the pulse because I wanted the ability to make really nice sharp sounds here and there but there was something about the pulse 2 specifically that just sounded way more sharp then I bargained for and I could not really smooth it out well. I got some sounds out of it I really liked though some patches reminded me of like commodore 64 stuff which is neat because I absolutely adore the SID chip. I really liked that it was nice and neat to program but the biggest strength to an analog synth for me is that I can immediately see all the parameters laid out and what they are set at.
My main gripes are that I just use my juno for hazy pads, stabs, and general delay fuckery and through the reverb/delay I use the pulse was just very sharp still and did not really fit in how I wanted it to. I think if I sat down and spent a lot more time getting familiar with it I could accomplish what I want on it but for all my sharp sounds I use my esq-1 which eccels at strange noises while still having a just nasty sounding filter.
tl;dr sounds nice, does not fit my style or workflow. I got some great acid house type 303 esque shit out of it though. It did that far better than my juno or esq and the esq can get a surprisingly neat 303.
I fucking love the size though. As much as I love the juno the keyboard sucks ass.
I was sorta trying to avoid using a laptop and just go with all hardware, but it's probably unavoidable isn't it?
While we're on the subject: should I really get a macbook (or some other apple product) for live electronic stuff in combination with an analog synth (like, at least a microbrute)? What would you recommend? I'd prefer to not spend too much money on it since it's purpose would be entirely for live performance, probably with ableton and my APC40.
Checked newegg for macbook and they're out of stock, so...
>but it's probably unavoidable isn't it?
well, for me it was a necessity. i mean, i could of bought a tiny Casio and a tape recorder or something, but since i had my laptop with me all the time anyways and since i was sort of homeless, MIDI and sampling were the best/only option for me.
as for your second question, my answer is going to be bias, but i'd say yes. when i jam live with friends i pretty much us the same setup - LPK 25, MPD 26, macbook running ableton. i have macros and all that mapped to my MPD so i can trigger or effect what i'm playing live. it's fun.
why the hell would you want a microbrute for live settings? the sequencer is too limited for many tracks or long sets, the keys are imo too small to reliably play live (i would just get nervous about hitting wrong notes) and it generally would not provide a sufficient soundscape, unless if you were doing expensive looping in which case, forgo the computer altogether. I've considered using the microbrute live, but ditched it. recently sold it actually as well. i guess it depends on the kind of music you play. but the APC 40 is a must, especially with the MKII out now
Thanks man, appreciate you taking the time to write all that out.
Could you elaborate on what you mean by "sharp"? Also, I mainly want to use it for bass and sub bass, as well as maybe leads, and strings since it's paraphonic. Mostly LP filter stuff. How would you rate it in that department? Do the 3 OSC make a difference in how good the bass sounds?
I mean, the whole smoothness part worries me, as I really want some warm, fat, smooth and creamy, and/or deep growly basslines, but the Pulse 2 has so many goddamn features and modulation options and is built like a tank for such a sweet price... it's hard to pass up.
I'm trying to figure out why you couldn't smooth it out well. You said if you sat down and spent a lot more time getting familiar with it you could accomplish what you wanted, so do you think you (or really, I) could learn how to smooth things out if I spent enough time with it?
I pretty much only work in my bedroom studio, so I honestly don't mind spending the time to learn the in's and out's as long as it can do everything I need it to and make some amazing sounds. The patch memory is really nice too, because it might take me a long time to get some sweet sounds out of it, but then I can save and instantly recall a patch for a live set if I wanted to do that.
Like, if it's just a time thing, that's fine with me, I personally am down to spend all the time it takes as long as I get one analog synth that will do pretty much everything for under a grand (dat paraphony with 3 DCO's is a big deal for me, and I really love what I've heard from their VCF). If it is impossible to make those sorts of sounds though, no matter what I do, then that's a problem.
i would recommend any number of digital synths for live settings. i'm a huge fan of the mininova, and you can get some things cheaper than the microbrute, ie m-audio venom. it's not portable, but it's polyphonic. my only gripe is it has a weird arpeggiator that is more of a pattern player. it has the ability to use regular arpeggiator modes, but most of the presets have what are essentially just MIDI loops stored as the arp settings. it's something easily changed, but a little annoying. it sounds good though. plus it has latch functions, which are great for live settings
Yeah, I'm thinking I'll probably get the ms20 mini and control it and other samples with a laptop of some sort and the APC40 MKI.
Wtf is even different about the new one except that it looks all fancy and futuristic and shit? I think I actually prefer the layout and build quality of the first one, I got mine really cheap before they got popular (they used to be $200 new). Looks like they're trying to emulate the Maschine or some shit, idk I don't like it.
Do I have to get a macbook? What's the best bang-for-the-buck live performance laptop to get nowadays?
Which PC laptop though? What's the most important feature to look for, like 16 gigs of DDR3 RAM or something?
I'd like to do some literal drum and bass with samples for the drums, MS20 Mini for the bass, and the APC40 to control everything.
Well it will excel at basses and leads. I'm sure you can probably get some absolutely fat leads but you really cannot know what you can get out of it until you spend a lot of time with it. I only spent maybe a few days with it.
My problem is because I really use my juno entirely for pads, stabs and I rarely use it for leads now and again but the fact it is not really that 'fat' helps me out. It just makes everything come together a bit nicer. If it really is lacking I can just multi-track it.
What I really mean by the sharpness is that it is very sharp and harsh sounding to me.
I should also mention I got my juno for 200 dollars which is one quarter the price of a pulse 2.
PCs are a better idea. more power than macs for less money. build quality can be inferior, but that depends entirely on the manufacturer. the variety is huge, just dig and dig until you find something.
i think the MKII is a HUGE improvement over the MKI, if only because they made it bus-powered and got rid of those fucking idiotic wings the MKI had on its sides. that had to be the dumbest, most unnecessary design idea ever. I realize it was a nod to earlier Akai design, but even the later MPCs didn't have motherfucking wings. totally superfluous. Plus, the ordering of the sends to the channels is visually much more sensible. I know i have had some moments in live settings where i confused one send knob with that of another channel on the MKI and got wonky outcomes. aligning send to the channel was a fantastic move. also moving the transport controls to the top and away from the fader was necessary. the position is dangerous on the MKI. i've definitely accidentally stopped everything while working in the studio thankfully never had that happen live. if youre careful, it shouldnt happen at all, but was undeniably a serious design flaw
i doubt you would get much money for it. depends on how urgently you need it and how big of a difference the upgrade makes to you. i still have my apc40 mki because i have no urgent need to get the mkii, since the music i do perform live isn;t heavily based on it anyway. you call the shot on that one. it would just suck to be left without an apc in the meantime.
Fair enough, thanks again and good to know. I think I'll be happy with the Pulse 2, I don't have any other synths lol (well, unless you count my QS7.1 but that's entirely digital).
holy shit what year did you buy it in HOW!??!
Ehhhh... I don't like digital synths. If I was gonna go digital, I might as well just use a laptop. If I'm going hardware, I want analog sound.
Probably gonna do a combination of the two though.
I understand that the natural inclination with digital hardware is to handwave it away with "might as well use VSTs and a MIDI keyboard!" but in practice, using hardware leads to a totally different workflow, and particularly in live settings, having dedicated hardware makes things so much easier. Some hardware also just sounds amazing. Again, I recommend the mininova because of it's arpeggiator. it can function like a standard arpeggiator, as well as have the pattern broken down by steps, allowing for rhythmic stuff you cant get out of a standard arpeggiator. the little performance buttons look gimmicky, but are actually super useful for some patches, and ultimately can be customized to do what you need.
ultimately, i guess it is jsut a workflow thing. I also prefer to save processing power for shit tons of effects, and if the synthesis can be kept outside of the box, it spares the CPU. but whatever.
i hope you see my point, at the very least as justification and food for thought.
You just have to browse craigslist every day. Don't even get me started on legendary scores.
I missed this one by 15 minutes. Would have been a pretty legendary score. Aside from that I got my reel to reel for 20 bucks, two original midiverbs for 15 each with power supplies, esq-1 was 100 bucks.
I've seen a lot of crazy shit on craigslist and a lot of my gear is from craigslist but pic related takes the cake
Do you know what the MIDI options for the P2 are like?
I'm wondering if you could use a MIDI controller to expand the tactility of the instrument, I know it's knows are limited, so could you maybe get a MIDI controller with lots of knobs and such, and thus control more options live? Or are you stuck with the control options on the front panel of the unit?
Yeah, but it sounds so smooth and fat when the LP filter is dropped. Seems easy enough to make it sound smooth and creamy, that waldorf filter impresses me every time I hear a new demo.
OK, I did it. I finally did it. I amassed enough gear sale money to get the Pulse 2. I'm fully convinced. I'm happy. I'm analog.
das it mane
Aw, that sounded too good to be true :I
So what are good studio monitors? Does it have to be monitors? I heard u can save alot of bucks by buying good speakers like the zensors1/3 and eq them to flatten the response
Thoughts? My budget is 500 bucks for powered ones. Also my room will be ca. 20sqm
So far ive been eying the jbl lsr305 since the krks seem to sound muddy and bass-heavy. I do want to make hip hop music tho and i dont want to need a subwoofer.Encapsulating the genius of yeezus is my goal
8 inches Isn't going to cause a volume issue, the point of monitors is to reproduce frequencies accurately, not crank them as loud as possible. If you want sufficient bass without a subwoofer 8" is the way to go
Bridget regarding the carpet you just don't want a smooth floor. Linoleum, tile, and wood are out of the question
I blame the Curtis filters. Even the P5s with the SSM filter sound better than the CEM versions.
The digital oscillators are the only interesting parts. Those VS wavetables are the shizzy.
Guy who replied to you last time here.
Shit for $30 I'd grab it. If he's got factory libraries, or better third party libraries, those will go for more than $30 on ebay if you decide you hate it.
I posted last thread about being able to go play with a prophet 12 today. I called a guitar center earlier in the week to confirm they had a 12 on the floor that I could play with. They told me they had one waiting for me.
I go there today (the same one I called, i'm 110% sure) and they don't have the prophet 12 out. I think to myself, alright this is okay I will get another opportunity. However, I saw an ms20 mini which I still haven'g got to use, that was dusty as fuck, no patch cables, wasn't plugged in to an amp or outlet while the microkorg and ultra nova were next to flashing lights in the center of the display.
I fucking hate guitar center, why do they have to lie to me like that? Why do I have to be into something that is so inaccessible. Why can't I just play with synths and have fun and be happy?
I want to get away from using the instruments native to my DAW. I have no money to spend on VSTs, and I can't seem to find any satisfying ones for free. Recommendations?
If anyone knows where to get good paid VSTs for free, that'd be cool too.
Speaking of hype, remember the Andromeda?
these are my favourite sounding drums rn. dat crunch and dirt.
this just really over the top parallel compression rite? maybe a bit o saturation/distortion thrown in for good measure?
what does /mu/ think about the arturia beatstep?
Doesn't require a computer, has a sequencer and even has CV and Gate Out.
mm yea thats a nice price since it includes the sequencer. kind of annoying that you have to edit the note values in the computer though. still i could see that being useful to some people. not for me though
so I have a basic synth loop and a hard hitting drum loop going on, the only thing other than that is an owl sample
what the fuck do I add to this shit, im using garageband and its fine to rap over but it could be so much more than a skellington song
I think he's pissed they're pimping the flashy dubstep machine for the kiddies while the really good analog synths like the ms20 mini are left to sulk gathering dust in a dark corner because they don't have all of those flashing lights and shit
Well it's kinda understandable since people look for features these days.
The MS20 mini isn't really a starter synth in 2014. If you buy a MS20 you already made that up with yourself before entering the shop.
yo guys looking for some feedback/gauging interest on a new project i'm starting with a few guys from my other band (one guy is a rapper/mc and the other is a saxophone player)
we were kind of jazz-dub-hip hop fusion band but most of my productions now are pretty much all electronic
heres a soundcloud link to a preview of the sound im working with now:
just to give you guys a feel beforehand my main influences going into this project were early 90s east coast and memphis rap and 90s detroit electro and techno (so second wave mostly)
just looking for opinions and to share music
I'm thinking of selling my MicroKorg XL and getting something a little more grounded. It was an impulse buy in 2010. I actually dig a lot of the sounds the MicroKorg is capable of, but I'm tired of the poor modulation options and difficult programming layout.
Wondering what you guys think are some decent outboard synths with fun modulation options.
I typically just buy whatever synth I really desire, I don't ask around for what other people want. If I can't decide what I want in my own, I don't really need it.
I also think getting into the habit of selling gear to afford other gear is a bad one. Selling off something like the MK because you don't lie it makes sense, but don't start a viscous cycle.
I need some advice from you guys. I'm feeling kinda stuck learning sound design, mixing, producing in general on my own. A lot of the artists I look up to claim they've been learning everything themselves. I'm not talking about songwriting ideas rather than about all that technical stuff, getting the most out of your software, mixing your music etc. Is experimenting really the key? Or will you find yourself stuck anyway sometime?
A hero of mine is baths. He says he does everything himself, from writing to recording and programming and arrangig to mixing and mastering, and he's never been to a studio. And his music is really well produced, doesn't sound like its home-recorded really.
How do/did you go about this if you're making music? Do you get help from experienced friends, do you take courses or anything, or do you just figure out everything yourselves, watching videos and reading stuff on the internet? And if you do the latter, can you show me some good pages/tutorials/reads? there really is a lot of crap out there.
I wouldn't mind taking it to a stage since there's a lot of interesting things you can do with it right off the bat. Regardless, the bulkiness is a little off putting and it doesn't really have that much character. The presets are shite, also. I hardly play with it but I got it for like $200 off some guy at work.
can this be a thread for shameless plugs for starting musicians? I got a keyboard and software and just wana share my first pieces
its the song at the bottom of the page...''corrosion assault''
I'm not selling it for money, I can buy pretty much any synth I want but I know I'm not really going to use it that much anymore. Playing with it (especially the vocoder) is pretty fun but the way I see it, it's more of a toy or a backdrop for a band that needs some kind of filler.
And I'm only asking because I'm not too familiar with hardware, I want to have fun when I program and am not exactly sure where to go.
I got one as well. Mainly bought it because of interface (i knew focusrite wasnt shit) since i started out. Had experience with vst's beforehand but i still prefer the ultranova since its hardware (a lot more fun). Idk, the sound isn't extraordinary but it has a lot of features, thats its selling point i guess.
I can't say I'm very good but I've improved tremendously since I began 5 years ago. The simplest way is to just emulate Youtube videos and tutorials online. This will help you understand how everything works and what each component of the mixing and mastering process is doing.
It's a big pain in the ass just like any bleep related thing. The amount of information that's out there is daunting but at the end of the day, it's more of an artistic approach than a technical one, but it is still important to understand the technical fundamentals.
Fabfilter has an excellent approach on the technical aspects of electronic music production:
I pray that they make more tutorials in my lifetime because they are pretty sweet.
Yeah, you're right. I usually keep one of two and then wipe everything else. Can't really think of that many good presets off the top of my head (DIVA has decent ones, I guess)
Those little modulation button/knobs up top are amazing and I'm surprised more companies haven't implemented them into their synths.
thanks for that insightful answer. I also think that songwriting and ideas are far more important than the technical stuff, but it's still really important for me to be able to realize my ideas with what I have, and to be able to use my software to get the sound I want, and to experiment with it, using its full potential, to create interesting sounds. Its really tough getting there
One day I'm going to find an unknowingly celebrity and make them sign some legal documents, like some marriage papers.
Then I will take half of her things or be married.
Win/win you heard it here first people, only at Mick & Ralph's.
can anyone tell me (towards 1:10) if a synth would be good to play that melody? A vintage synth sound (or organ).
I have a texture in mind reminiscent of Donovan's Colours.
I'm thinking about getting a decent midi controller to fuck around with in Ableton. I mostly record electric/acoustic guitar and I just want to experiment a little further, I'm not really looking to spend more than $100 unless I really have to. What would you guys recommend? I've been thinking about the Arturai Minilab
Minilab is alright. I've got analog factory, it's got good sounds, but nothing I use anymore, I am aware that it's not the same /exact/ plugin version the minilab has. The controller is probably the worst part of the deal, because minikeys, but it's mapped well to the plugin.
I just don't think that minikeys are the best thing to learn the black and whites on.
I just physically compared the BSII and the minibrute. BSII has a lot of great sounds and some good parameters as well as patch saving. I was able to make some really cool sounds I couldn't make with my minibrute. However, the minibrute has a lot more *UMPH!* and sounds like it'd rip your asshole in half. Plus you can make plenty of variable sounds with the minibrute, just maybe not as much as the BSII. but this is just with me playing with them for about an hour. anyone else have any input? also please keep it civil
Idk why my last post didn't go trough.
Keep the levels down on the Brute, Yves mentions that it saturates around 80%, which will get you typical synth sounds. Both the BS and the brute have a feedback distortion circuit, only the brute saturates, which give it that extra heft you mention.
Feature wise they're pretty on oar with each other. The only big one is presets. They both make great beginners monos.
You could probably get an Alesis QS6.1 or 7.1 in the $100-200 range. It's got it's own sounds, but you can use it as a MIDI controller as well.
I have a 7.1, the keys are fucking orgasmic and it's got some great sounds in it. I often play the Trampled patch (mix of a wurlitzer and rhodes patch) and I cum in my pants every time.
Built like a tank, too. All metal chassis, heavy, but light enough for one person to carry it.
What? Last time I checked, the BSII didn't have things like Ultrasaw and Metalizer, or an oscillator section where you can shape different waveforms.
That's the big deal maker for me. Minibrute is great because it pairs so well with other synths because of those features that pretty much no other synth has. Gotta look at the bigger picture.
If you're gonna get the BSII, might as well save a couple hundred more dollars and get the Pulse 2. I don't think someone who is actually serious about getting into analog and hardware is going to be ultimately satisfied with the BSII, eventually you're gonna figure out it's just mediocre and you should have gotten the Pulse 2 (if you're going for DCO's), whereas the Minibrute can actually make many neat changes to something like the Pulse 2 and pair well with it (or an MS20 mini, or any other synth really).
BSII just doesn't seem worth it to me considering the Pulse 2 is leaps and bounds better than it for not much more money.
Aesthetically it is pretty poor. There is a bit of tailpiece lift but everything appears to be structurally sound and it stays in tune for months with a straight ass neck.
Sounds great but it feels a bit more fragile compared to a p bass. I want to get mine refinished and restored professionally.
The pulse is $300 more, has no keys let alone aftertouch, and isn't as good as a beginners synth. I'm comparing similar synths. Stop pushing the goddamn pulse hole you're at it, just get one and finally shit up about.
I meant to say the oscillator sections are on par as the BS has two DCOs and a sub OSC, while the brute has the advantage of it's large OSC modulations (though not VC like the micro).
Again, please stop shilling the pulse so much. It's not really the same category of synth.
nice! i just copped a red p-bass used for 260, after playing a shitty 80 dollar Ibanez for a few years. this isn't the guitar general so i won't post pics, but i'm loving the sound. couldn't even play slap on the ibanez, always wondered why i was doing the motions right without it making the right noise. post pics in the guitar general if you ever get it restored, a rickenbacker would be my dream bass
>I don't think someone who is actually serious about getting into analog and hardware is going to be ultimately satisfied with the BSII, eventually you're gonna figure out it's just mediocre and you should have gotten the Pulse 2
Out of this whole annoying post, this was the worst part.
Figured this would be the best place to ask, as I intend to use it for production anyways. Is this a good contact mic? I'm mostly going to just experiment, but also plan to use it to turn ordinary objects into reverb.
I also intend to get a bull horn to take advantage of free shipping.
Read the post I was originally replying to. He was comparing the BS and the MB, he didn't ask to hear you shill the pulse yet again.
Your opinion on what you like is noted but irrelevant.
Also, here's the bull horn in question because fuck yeah, being loud is awesome.
you already pull the trigger?
The megaphone is worth it but that pickup is utter trash. Seriously nothing sounds good through it.
I used mine to blow up a dying amp on stage, made for a good effect but unfortunately I was still stuck with the pickup afterward
so I've wanted to get into /bleep/ for a while and finally copped one of these for ~$200. Did I do ok?
Actually yes $200 is fair.
I've got both a tube pre and graphic as well as parametric EQ. That said, can you think of any other more suitable piezo pickups? I'm handle with a soldering iron so I can make my own sockets for them.
>place speaker on file cabinet, glue it in place
>place contact mic on other end of cabinet
Radioshack sells them for cheap, other places for even less. if you're doing the cabinet thing you could buy several and attach them in various places, then mix them together and get a really spacious sound...
Depends on how /bleep/ you're trying to be. The absence of knobs and the fact that it's a digital synth might be a low point for some people. I like the Micron, it's a nice synth to play around with although I never got too in depth with the modeling which was kind of a pain in the ass come to think of it.
In that case I'll just get a bag of them. I'm trying to round up my order on the megaphone to get free shipping. Also, as a /DIY/ guy, radio shack is like a church to a redditor to me.
Because I'm not a retard and have plenty of dynamic and condenser mics. Quit telling me to do thing that won't work.
There's things piezo a can pick up that a dynamic or condenser won't. For one, sound through a solid medium, such as anything that isn't made of air.
Again, stop being stupid.
I'm just emphasizing how I already have plenty of mic experience, and that it in no way applies to what I'm doing. If I wanted to turn a tile room into an echo chamber, that would be a different story.
>tfw no more tile bathroom
how the fuck was i supposed to know that, though? especially when you're getting such a cheap-ass mic? you're anonymous.
also, not everyone has a fucking PhD in acoustics. i asked because i personally don't know shit about mics, and was interested in learning. quit being such a faggot.
cant afford the real thing, will settle for this
How about you suggest a "real" piezo mic then? There's not a lot of expensive piezo mics out there, nor should there be.
If you weren't so condescending in your first post, I wouldn't have called you out on being what you are.
I'll just stick with bomb factory until I can afford a nice tube compressor. Either a distressor or one of the gorillions of 1176 clones. Probably the former because it's a bit more unique and slightly less prevelant.
Marshall Jefferson 1988
will do. have to get an ETA of it on Monday. will be using Pro Tools 10
i have one and i like it. its quite nice sounding and way easier to program than people say. theres shortcut keys for everything. the assinable knobs are nice and the modulation matrix is by far the best in the price range (save maybe some old fm stuff)
how was I condescending? I said "...what?" because I literally didn't even know you could do that, that it was even possible.
>How about you suggest a "real" piezo mic then?
>i personally don't know shit about mics
there's always google, friend. all i know is that the general rule of thumb is that super cheap stuff is usually shit, otherwise i have no idea, as previously stated.
i don't know what crawled up your ass and died, but you seriously need to learn how to relax, that high blood pressure is a killer. it's an anonymous imageboard man, no need to bite my head off
You're getting pretty worked up about this, you don't need to project it onto me.
Here's the post I was referencing, unless that wasn't you. >>48172392
I tried to be civil >>48172666
But you continued to go apeshit.
The reason why I asked you is because you were so adamant about continuing the discussion without providing anything. As a general rule of thumb, all piezos are super cheap, if it isn't you're being scammed.
How do you do drums? I've been using the drum kits in my DAW but i'm getting kinda bored of them. How did someone like tom cruise get such great percussive elements on galactic melt? samples? a drum machie? or sampling a drum machine?