i haven't been able to find any specific gripes about the esi-32. in
fact, it used to be a top of the line unit. maybe people aren't gung-ho
about it because it's dated.
----------------------------------
Scott Kellogg [EMAIL PROTECTED]
Kiva Networking Technical Support
337-5070 or 1-800-819-8143
----------------------------------
On Mon, 6 Dec 1999, Alper Olcay wrote:
> Yes, you're right .It has a rather low sampling rate( 32kHz max) But, It's a
> budget thing. Don't know about ESI-32 but, you can check Sonic State wegpage
> where you may find some user reviews.
> -----Original Message-----
> From: Scott Kellogg <[EMAIL PROTECTED]>
> To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
> Date: 06 December 1999 22:23
> Subject: OT: samplers (was: Re: Track production styles..)
>
>
> >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.
> >> >>>
> >> >>
> >> >>
> >> >
> >>
> >
>
