If I understood what I meant ? I won’t fully understand until I put it into practice - trial and error but then again all your doing is muting and unmuting parts via automation whilst it plays the same lead pattern across many different sounds , it’s quite simple really no ? Taking advantage of virus multi timbral in the same manner as mentioned in the video which I don’t think you have watched fully , because there is no random switching of the parts , you draw in which part you want played before any other , nothing is random here
And maybe hook it to a sampler like an MPC or Octatrack and set it up in a way multis can bounce off of eachother , creating lead lines that are made up of 4 or more different sounds , that’s all......
Yeah sure I’ve spend more time on the audio mixing front than I have compositions , but yeah , much of the fun is starting from init patches obviously, using twin unison , spread on elements I want to stand out , and the mix between wet and dry sounds to give contrast - eq , compression , spatial , yano all of that fun stuff..
I’ve been getting turned on by some psychedelic techno , there’s a OOOD mix that Rama compiled , if it’s your bag il throw the link
My contradiction is , that I said I wana design sounds never heard before because these days takes a lot for me to get the belly rush since everything has been heard before and rehashed - that’s fine because it works , but for me , it takes quite abit to satisfy my ears - I’m trying to stray away from the same old same , I wana produce stuff that pleases myself as well as others and not pump out the same old shit for a lame mainstream - that’s also a piece of Piss to arrange , I wana feel excited about what material I got to arrange , so far just a empty void and - yet Anything I come up with that turns my ear on , all be it sometimes simple , I’m sharing ? LOL
push limits of perception - whilst pushing limits of what one can hear
white out - desktop, not sure why it has to be 300 qid extra second hand for the sake of being a colour that exposes filth and dust more so but hey ho if you ain’t a filthy bastard like myself ignore my thoughts
For me the problem was with a dodgy ethernet cable , it would somehow cause a crackle within my soundcard - every odd minuet , in return it would bug the virus.... since getting a new ethernet cable my problems were solved... although it took along time to figure this out
Sometimes it can be something else outside of the virus that causes the issue I guess is my point here....
Nice one ☝️ yeah driving a folder with some high resonance is a lot of fun , can come up with tones and timbres never heard before and that’s exactly what I’m trying to do , make sounds , leads that Havnt been heard or done before , have to admit nothing takes my fancy these days as it’s all been done before , so unfortunately I am quite strict on my own standards which is actually abit of a draw back , but o well , back to the laboratory
only reason i preferred the arp matrix is coz I can get stable patterns and tones out of self oscillating resonance thru the foldback... using the S&H has quite a random effect , I will give this ago though
edit - using the arp mod matrix along with the S&H lfo is pritty good , combined best of both worlds
lordradish I’m more than happy with the interface and layout of the plugin , use to be red , very aggressive and in your face , but now , everything , or Atleast most things are were they should be which set a good workflow , the only thing I’d like to see that would make workflow smoother , is some revamping to the Arp section... allow free running curves for envelopes , curve creation in general
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- Mr Bill Ableton tutorial on an “Automatic Hocket machine“
I’d never heard of the term before , although
I often hear the ear for-filling techniques in electronic music , and I would wish to employ them in psychedelic techno...
So discussing this further , invoking the Ti’s multitimbral sounds in this way shown in the video , best ways one would set this up to provide similar yet easier and madder results... suggestions ? Trial and error until you have parts that talk to eachother in the “Hocket” format...
Turning the Virus into an ultimate Hocket machine...... thoughts on how to implement ? It would be ideal also to be able to assign the Remote 37sl mk2s faders to the Virus part faders , not sure how , the Virus automap template on the remote doesn’t seem to have them assigned , use auto map plugin to manually do it ??
Turning the Virus ti into an ultimate 3-4 part Hocket glitch call and response machine sounds like a good plan , anyone wana chime in to help implement??
Im thinking of something like arp to mod set ups across 4 parts that talk to eachother in away they actually make up one sound , these types of ideas also welcome
No I hear you , Not saying you are naive in inexperienced ways sorry , I just mean in a way that people shouldn’t have to check a website to see if a synth Is compatible with there OS or not when you know many years Mac has always been compatible, so people aren’t unlikely going to check such a thing...
My comment was to only offer hope that 1500 isn’t quite down the drain just yet and tryna be fair on both viewpoints..
and it is certainly worth holding onto , as shit the situation maybe... you will regret selling the Virus , so think twice on that front
it’s not down the drain , I would leave Mac for not considering their own action , if was me I would rather sell Mac for windows 10 just so I could fully use the Virus at this point...
easier said than done tho , and is still fairly harsh on no word of a fix considering price of a DarkStar for example let alone ‘standard’ issues.. naive people like me wouldn’t of seen the catalina compatibility message either
Infact it’s a few of the waveshaper algorithms In general
But with the 2-6 Pole Xfade series of filters loves to drive the waveshapers with full resonance , the tones can be controlled via the arpmod
with the 6 pole resonance cranked up , try the different waveshapers , drive the Intensity until it bites and see what ya ears like the most.. Sinefold , SoftBounce and Wavshaper are my favourites
reminiscent , interesting and distinctive tones when max resonance from a 6 pole filter slams into either of those above
Further tests conclude that actually driving the SoftBounce using 6pole xfade high res filter gives a more cleaner interesting tones
80-100% Intensity ,in combo with the Xfade 6pole with resonance cranked to full , the main filters set em to analog and set desired key follow - for further modded fun - in the matrix set the filter bank frequency to the arpmod (and anything else that take a fancy , reverb send , arp length a gooden , patch/osc volume ,etc etc )
in the arp section have it set to ‘up’ or what ever suits , draw out your pattern , 2 or three keys to play in sequencer/piano roll ... Then blast that shit like the Prodigy..
Lame but , How do you send patches, can’t see the individual patches in documents , just the bank library’s , feel bad for the Cat Macs that can’t use VC current , then again all your doing is using the filterbanks 6 pole with res cranked up into a few of of the waveshapers
Driving the Sinefold distortion algorithm with a high resonance filter sounds nice....
start by Slowly cranking the intensity up , backing off until it bites , then select a 6pole xfade filter with its resonance turned up , with cutoff 1/4 open , gives some interesting and unusual sounding results
I guess there’s no other choice than to update the iOS then Marc now that most of the the spade work has been done , would that mean forfilling some other requests too ?
although I can see , it will be just a fix for the IOS.... which I hope gets sorted for some of you , quite rightly , you pay top money and can’t use the selling point features due to a simple Mac update , an update that can’t be rolled back.
I mean this does mean that sales will drop since there will also be the stubborn among us that won’t want to switch to windows , but why should they..
I don’t think Access would like a drop in sales due to a simple Mac mishap
