i really don't get why everyone wants limitations. limited gear just means you have to work twice as hard to get something unique. i'd rather put that kind of effort into something that's going to give me different sounds to everyone else.
when it comes to percussive sounds i use;
Vermona DRM-1 mk3 - this gives me all my analogue sounds. i like it because i can get a wide range of sounds out of it, it' easy to use and has no patch memory or sequencer, which keeps the price down.
Reason 5 - the live sampling feature and Kong have taken the program to a new level. i don't think i could ever get bored of this.
Korg EMX - when it comes to drums i only really use the hihats these days. thinking about selling it.
Why drum machines?
As far as sounds go, I wouldn't want to be limited, I just found that writing drums in a piano roll editor wrong and hated it. Ive used reason before and preferred making my beats in the Redrum - which, let's face it, is modelled on TR type programming. It's there for familiarity and a nod to the past drum machines. The effectiveness of that style of beat making has obviously worked for many a person. I personally can't see how it can be improved upon for laying out basic beats. Couple that with not liking making music on a computer and what options are you left with?tone-def wrote:i really don't get why everyone wants limitations. limited gear just means you have to work twice as hard to get something unique. i'd rather put that kind of effort into something that's going to give me different sounds to everyone else.
when it comes to percussive sounds i use;
Vermona DRM-1 mk3 - this gives me all my analogue sounds. i like it because i can get a wide range of sounds out of it, it' easy to use and has no patch memory or sequencer, which keeps the price down.
Reason 5 - the live sampling feature and Kong have taken the program to a new level. i don't think i could ever get bored of this.
Korg EMX - when it comes to drums i only really use the hihats these days. thinking about selling it.
its a weird one because it can work both ways, working with a limited palette pushes you to dig deeper into what you'e got.tone-def wrote:i really don't get why everyone wants limitations. limited gear just means you have to work twice as hard to get something unique. i'd rather put that kind of effort into something that's going to give me different sounds to everyone else.
i think maybe some people just skim over the default settings and stock patches without getting stuck in, because if they dont get something really quick, they just move on to another set of default patches.
ive been really getting into what i can squeeze out of my voyager, which is effectively just a monosynth, by being creative with modulation. when i first got it i wasnt being very imaginative, and i can imagine the same happens with softsynths....it took me two years of concentrating on working with nothing but the voyager to get to the point where i feel i've fully mastered it.
but.... at the same time, i wouldnt want to just work with it and nothing else, and i love to have an almost infinite canvass of possibilities.
I dunno, I like limitations? With my current setup, I can write a whole track in 2 hours because my setup is so limited but I know it well. When I occasionally make music at my friend's place, working with a basically unlimited DAW with tons of softsynths, plugins and a huge sample library, we end up auditioning snare samples for hours and never get anything finished.tone-def wrote:i really don't get why everyone wants limitations. limited gear just means you have to work twice as hard to get something unique. i'd rather put that kind of effort into something that's going to give me different sounds to everyone else.
Obviously, some limitations work better with some people. Someone needs a drummachine, someone needs a modular, I need my Monomachine. There might even be people who can work effectively with a limitless setup. It's a very personal choice.
mate theres loads of options;AK wrote:Couple that with not liking making music on a computer and what options are you left with?
how about this one; http://www.youtube.com/watch?v=JISVw7xiR5w
thanks steevio, seems very interesting and thanks for that idea! and btw. it was good to understand :-).steevio wrote:maybe you should let Regler be the judge of that.oblioblioblio wrote:just thought i'd chime in quickly here. ^^^ that probably sounds really complicated but actually it's totally simple as fck... i think the problem is, that when you've spent a lot of time working in that way it seems so obvious (becuase it is), but if you're not familiar it might sound very complicated.
i'm assuming he understands what a pulse wave, delay and a mixer is....
why would anyone ask that question if they didnt have a basic understanding of synthesis ?
I was always fascinated by making grooves with turning knobs and not with playing pads (MPC). I think I will make some experiments in that direction, by using a audio to midi plugin and use an audio signal as the trigger signal like you described. I did some experiments with modulating the swing parameter with a knob in real-time in the past and that was already a lot of fun.
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Phurniture
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Good guess, but it wasn't that. A buddy of mine had one though. Never saw it in action, however.steevio wrote:LOL i think you might have had yourself a korg MR16, the worst drum machine ever made.Phurniture wrote: and some weird little digital Korg thing that didn't really work properly.
someone gave me one a few years ago, the samples in it werent even trimmed properly, they had a glitch at the start and end. how they got away with selling those i dont know.
it put me off korg for life.
i also regret letting my TR606 go, purely for some of the sounds.
After a quick search I have figured out that it was a Korg DDM 110 "Super Drums". Not that super, but fun little sounds. Never figured out how to make a pattern with it, so I returned it to the 2nd hand shop for a refund.
http://www.soundonsound.com/sos/jan01/a ... ddm110.asp