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Your selection was saved! I should practice playing the piano much more though I always find something more interesting to do like comparing three different distortion effects on a for five hours….
The gates go to drum generators and envelopes of the oscillators. So there are two mono synth lines in the modular and the rest is drums.
Riemann Kollektion Oneshots. My favorite filter, the Bastl Instruments Cinnamon , functions also as a mixer; when I turn down the cutoff, the sound disappears.
This way, I save mixer channels! The internal mixer is from the Roland System series and really good for performing live. It has faders, but also mute buttons, and for stereo effects the pan-pot can be modulated.
See the MIX module. How were you working with the Riemann Kollektion samples? Actually, on that wavelength — do you have time for your own sets that you dedicate to sound design?
Yes, what you see in this live set is just the tip of the iceberg. That includes things like experimenting with electronic instruments, looking for new synth modules or a better configuration of my modular rack, trying new synths and playing around without a clear target, learning new methods of sound design, mixing, and music-making, and also creating loops and sounds for Riemann Kollektion.
Also listening to music is a big part of music education. Once you know how to make music, you hear it from another perspective.
The kick is just massive. And it holds up even to Facebook streaming. Is that all there in the sounds to begin with, or are you also thinking about signal flow, compression, EQ as part of mixing this live?
Yes this is another hidden field which is very important to me, getting the best out of the sound in all aspects and in all situations.
I also do mastering for my label FLASH Recordings and for a few selected clients like Richie Hawtin — and in mastering, I always try to get out this little extra, which is possible in almost all cases.
This includes the right dose of overtones in the right moments, as well as the right balance of not only frequencies but also transients and volumes.
For this live stream, I used the s Mackie 8-Bus mixer which I also use to record all my music. Some channels are clipping, some have a high boost and low boost, and all channels come together on a bus which includes an SSL compressor.
They are not only very clear, honest and pleasant to listen to — they can also handle quite high volumes! It kind of sounds like Funktion One, but more studio-like and more honest.
Everything sounded a bit boring on all other speakers when I tried that for a while. But they are not designed to be studio monitor speakers anyways.
How are you preparing songs in advance for this kind of sets? How are you storing some of those patterns, etc.? Most of what you hear in the live set appeared somewhere in my releases before in some form; however, there is a lot of improvisation between those elements.
I have around 10 stored projects in the [Arturia] Beatstep Pro which consist of beat patterns and one or two melody sequences. How I combine them and perform them results in the actual live performance.
The possibilities of how to combine them are quite large. Some samples of songs which I released in the past are inside the Toraiz SP This is quite easy, because it can even handle loops in stereo, even though I only used one loop in this set.
But sometimes I just import a vocal loop and then chop it up accordingly within the sampler. After half a year, I usually make major changes in the setup and content, I program new melodies, exchange gear and incorporate new performance skills.
Is that also down to setting up the machines so that your mix is already set, for performance? The reason for this is that the mixer functions almost only as a summing device in this case — I prefer to have the mixing functions inside my setup and not dependant on a mixer.
As mentioned earlier, I like to use lowpass filters to filter down and eventually fade away hi-hats, snares, rides, etc. The main thing I did on the main mixer was to increase the send level to have this large reverb space.
I wondered, is developing stuff live also something that feeds into your tracks and productions? Then I think of many ways I could use something, and if I believe I could benefit from it, I buy it and experiment without any goal and learn all functions, because almost always the very interesting things, the things which differ your music from others, lie in the hidden functions or in the really expert mode functions where you can tweak the little extra sound out of it.
If it suits the live set I use it there, too, and often work out the sweet spots — the settings where a piece of gear is best at.
This can be as simple as tuning of a kick plus distortion or saturation, but also something more complex, like a patch combining Eurorack modules in a certain way so it forms a unique instrument.