49

(107 replies, posted in Collaborations)

I'll dig through my archive of library music and post anything of relevance i come across.

If it's a larger space, and the PA is stage mounted, the sweet spot for stereo is going to be way back at the friggin bar where nobody is listening to you play anyways. Think about it. Don't make me draw diagrams. If they are overheads above the stage, or more commonly, at the extreme L/R of the stage, that's what, 15-20 feet between the l/r ? Depending on the angle on inclination, that's gonna put the sweet spot at least 25 feet back from the stage. In front of that, you are not going to hear ANY direct sound, it will be 100% reflections (which is why at rock shows, people crowd up to the front to hear the amps and not the club PA)

In almost all situations, it's going to sound better in mono. The sound guy knows this, so he is going to do you a little favor and merge your channels. A good rule of thumb while mixing anything is to ALWAYS CHECK YOUR MIXES IN MONO.

51

(95 replies, posted in General Discussion)

ignore every single post in this thread.
i have tried to quit writing music 4 times to date.
best time: 14 months

52

(107 replies, posted in Collaborations)

i am obliged to tell you to go fuck off, and then submit a track.

this is fantastic for use with single cycle waveforms.
much faster than loading in the same sample in multiple instances and then inputting the sample rate by hand!
also being able to skip that extra math step is nice smile

unexpected end of archive; corrupt.

Damn, it's gonna have to be next time. sad
I can think of a whole lot of non-GB applications for this -  considering a stompbox build.

56

(42 replies, posted in General Discussion)

I, Cactus is still around and still making all sorts of music. He's currently on internet hiatus though, and it would appear that he did indeed remove the soundcloud account for his I, Cactus moniker.

No.

58

(8 replies, posted in Releases)

www.eerikinpujsound.com
ilkae.bandcamp.com

some people here may find this relevant to their interests.
it compiles all of the unreleased .xm tracks dazee and i did while ilkae was a two person project.

herr_prof wrote:

Bondage Fairies

Cheap Italian Wine is one of my guilty pleasures. +1

If you can hear reverb on it, it's from the physical spaces I was in. (No digital reverb present at any point.)
Good examples would be the starting gong sound (recorded in a brewing kettle) and the filing cabinet jam around 14:30.

The piece was then assembled from hours or source material in cool edit pro. Some things, like the drums and guitar drones were recorded in my bedroom. At the very end you can hear garbage trucks passing outside, 20-30ft from my bedroom window - that's how sensitive the mics are.

I could have gone back and recorded the final mix in one of the buildings used, but I generally don't like applying one constant effect on a dynamic piece of music. If it was a pure drone, perhaps. I wanted the percussive elements to stay dry.

Thanks!

I used these microphones (which for the price are unbeatable) as well as a standard 1990s minidisc recorder.
http://www.core-sound.com/lcmics/1.php

Playback on site was a cheap portable cd boombox.

It can be amazing, but it all depends on your material and the space you're using.
The source material for this was all recorded in abandoned buildings in Montreal:

http://ilkae.bandcamp.com/track/spring- … om-pebbles

Not a chiptune. I would imagine that some awesome phase modulation could be attained using wet+dry chip sources though.

also curious, 3dcosby - satan's secret was probably the best album i bought last year.

If anything, last night was hectic and ambitious as all hell, and toycompany deserves praise for pushing to make events like this happen in montreal. As I mentioned in the other thread, it was probably a blessing in disguise that Kris K. got to play before me. As soon as the EDM stopped, the place cleared out.