I looked at the Akai S-20, but I remember that it had a rather low
sampling rate. Do you have any specific criticisms of the ESI-32?
scott
----------------------------------
Scott Kellogg [EMAIL PROTECTED]
Kiva Networking Technical Support
337-5070 or 1-800-819-8143
----------------------------------
On Mon, 6 Dec 1999, Alper Olcay wrote:
> I mean ,to play samples from different pitches:)
>
> -----Original Message-----
> From: Alper Olcay <[EMAIL PROTECTED]>
> To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
> Date: 06 December 1999 22:17
> Subject: Re: Track production styles..
>
>
> >Scott, also consider Akai S20.It's a phrase sampler whereas it's a 16
> >multitimbral sound module.So that you can assign notes to play sampled from
> >different pitches.
> >Alper
> >
> >
> >-----Original Message-----
> >From: Scott Kellogg <[EMAIL PROTECTED]>
> >To: '[EMAIL PROTECTED]' <[EMAIL PROTECTED]>
> >Date: 06 December 1999 21:41
> >Subject: RE: Track production styles..
> >
> >
> >>great, great post. thanks a lot.
> >>
> >>where can we find some of your music (you mentioned 'label mates.')
> >>
> >>do you know anything about the esi-32? i can't afford the a3k.
> >>
> >>scott
> >>
> >>----------------------------------
> >>Scott Kellogg [EMAIL PROTECTED]
> >>Kiva Networking Technical Support
> >>337-5070 or 1-800-819-8143
> >>----------------------------------
> >>On Mon, 6 Dec 1999, Matthew Allen wrote:
> >>
> >>> I usually start simple. Most of the tracks I've done recently have
> >>> started in 3 ways. Either with a drum pattern or specific melody or a
> >crazy
> >>> amount of sound design that inspires me in some form or another (This
> one
> >>> usually happens after sitting in front of generator for a day or 2). All
> >of
> >>> the different seed ideas usually end up getting worked into songs the
> >same
> >>> way though:
> >>> I'll start by setting it up as a 4 bar loop with a variation on the
> >>> final bar(so I can keep my place without looking at the rm1x). I use the
> >>> internal drum sounds to make it quick. From here ill start play over it
> >to
> >>> see if I can get anything interesting to pop out. If so I usually end up
> >>> recording a 32 bar phrase in overdub. from here I can usually split out
> 2
> >>> eight bar loops that work pretty well with each other. I repeat this
> >process
> >>> for a while until I beef up the track sufficiently. All of the melodies
> >are
> >>> done on external gear (usually the sy99 which I spend a lot of free time
> >>> just making wacky ass FM instruments with). I save my A3k for rhythm and
> >>> sometimes some weird pads (this weekends track consisted of a looped and
> >>> tuned choral pad sampled off of a Tallis scholars CD). Once I have a
> >couple
> >>> of sections ill go in and start copy entire sections and phrase to a
> >>> different section. form here ill edit the new phrase to create some
> >subtle
> >>> (usually to subtle) difference in the section). Ill also at this point
> >start
> >>> to swap out the internal sounds I used to sketch out the song for A3000
> >>> samples. Ill build an intro section out of the phrases I have (I usually
> >end
> >>> up with around 40 phrases per track).
> >>> Then comes the fun part. I basically start to do mixes with the
> >>> song. recording each them straight into the computer as a stereo file
> >(this
> >>> limits the 'now I need to mess with it per track' in Soundforge' urges I
> >>> sometimes get). I usually do at least 3 or 4 per day and edit and tweak
> >the
> >>> midi info and sound design between each take. Alot of messing with the
> >>> peavey to get sweeps and real-time sample loop craziness. Ill mp3 these
> >and
> >>> listen to them all week at work to figure out what I want to change,
> >making
> >>> those subtle changes not so subtle, mixing one instrument a bit softer.
> I
> >>> repeat this process 2 or 3 times (I've been doing about a track a month
> >>> since I got the rm1x, which for me is insane). gradually building up a
> >good
> >>> understanding of how I've set things up on the rm1x and what real-time
> >stuff
> >>> sounds best in the song. getting different ideas from each take and
> >>> incorporating them into the next take. I never mix down in the computer
> >>> environment. Its all a live take. after about 3 weeks worth of sound and
> >>> song design I not only have a comprehensive 'sketchbook' of takes that I
> >can
> >>> grab samples from for latter use, and use to map the process to make it
> >>> better, but I also have a semi final (no 2 takes are the same even if
> all
> >>> the sound design is set in concrete) track that i send out to friends
> and
> >>> label mates. This seems to work very well for me. 2 caveats though:
> >>>
> >>> 1. I wish i still had my mac with logic on it. There are things i
> >desperatly
> >>> want to do to the midi stream (not the least of which would be recording
> >>> each take as a straight midi file and saving that with its audio
> >>> counterpart). Im coming closer and closer to breaking down and buying
> >Logic
> >>> for the PC so i can have access to this stuff.
> >>>
> >>> 2. Composing like this (and live gigging) have definetly shown me not
> >only
> >>> some of the advatages to owning this machine, but some of the insane
> >design
> >>> flaws. Dont get me wrong i Love the rm1x dearly but i truly cant
> >understand
> >>> some of the decisions made. like the beat change knob not synching to
> >>> anything except for a retrigger of the phrase . Whats up with that? If i
> >>> ever use beat change live i have to not only time the knob twist almost
> >>> perfectly but i also have to hover over the << button on the transport
> >>> control and nail this on the first part of the first bar in my phrase to
> >get
> >>> beat change to line up. Just save us some trouble and let us drop it in
> >in
> >>> the edit list. In fact not being able to drop alot of the realtime
> >control
> >>> into the edit list has defeintly limted some tof the usefullness of the
> >box.
> >>> I wish i had 8 arms but i dont so I'll just have to deal.
> >>>
> >>
> >>
> >
>
