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contakt321 wrote:

futures_untold wrote:

contakt321 wrote: Just right click freeze, right click flatten...

OR:

What I do, is get a sound I like, then I create a midi pattern that is a C note at every octave playing for 8 bars each.

I record this to an audio track.

I set warp markers at the beginning of each note

Then I right click and slice to Sampler and it creates a Multi-sample instrument in Sampler.

Total time = maybe 2 min?
Result = Amazing

Is that in Ableton?

That sounds fat

Yes, in Ableton, sorry for not being clearer.

From there you could take it to the next level:

1. Create an Instrument Rack
2. Drag in the new Sampler
3. Option - Drag twice to create 3 of the same sampler.
4. Low pass one, mid pass the next, high pass the last
5. Effect them all differently and go apeshit
6. Drag in any synth to the instrument rack of just a sine wave for the sub.

Voila! Super bass, that you can play easily and have split into the right layers for a fat ass sound.

That's a pretty sweet man. I haven't been doing it that way, but now I want to try it out!

Once you embrace it, there is no turning back.

Give me a whole bunch or raw audio over a soft synth any day of the week.

if you dont need to do it you dont need to do it.


personally never really do it for the types of things most peeps on the board do it for.. i.e. processed face bass


more like some melodramatic backwards piano or summat simple like

Jolly Wailer wrote:if you dont need to do it you dont need to do it.


personally never really do it for the types of things most peeps on the board do it for.. i.e. processed face bass

I have to say it kind of winds me up the way that in some areas it's become this thing that you sort of have to do and everyone has to spend weeks resampling a bass 17 times, not to make it sound totally unlike anything that's ever been heard before, but more to make it sound exactly like everyone else on the scene but with a little bit more squelch / grit / scream / whoosh. Plus it sometimes seems like the engineering is overtaking the music and it's just a resampling arms race rather smewhere that people push new ideas. But obvs that's not always the case, and I think this is mostly just me being a grumpy old man.

I quite like it in principle - the idea of slapping stuff down to audio seems good for getting away from perfectionist / compulsive / anally retentive mode and also it seems like working with something as audio gives you a different sort of approach to it in terms of what you can do and how you think about it. I guess that's partly what the dnb guys are doing, as well as just meaning they can distort then filter then chorus then bitcrush then EQ then filter then distort * 5000 without running out of cpu...

Slothrop wrote:I think this is mostly just me being a grumpy old man.

yup..

I have been resampling since like 98 when I had an ASRX. It is a part of my deal now. Ableton is just a dream come true for me. It couldn't possibly be any easier to perform these tasks. You can come up with some amazing shit this way. It isn't about saving some processor/memory, my computer is plenty fast enough. Also I love the artifacts you get from pitching stuff up and down in fact I use it as a sort of bit reduction to get my sounds nice and crispy.

resample>>>>timestretch


WIN

abZ wrote:I have been resampling since like 98 when I had an ASRX. It is a part of my deal now. Ableton is just a dream come true for me. It couldn't possibly be any easier to perform these tasks. You can come up with some amazing shit this way. It isn't about saving some processor/memory, my computer is plenty fast enough. Also I love the artifacts you get from pitching stuff up and down in fact I use it as a sort of bit reduction to get my sounds nice and crispy.

hell yea man!

so what you can throw a reverb on a sample big woop...but sample that and tune it down 36 pitches and you got a twisted atmosphere

Takes 3 seconds in Renoise

Diasporah wrote:Takes 3 seconds in Renoise

WTF you and Deadly. I swear Renoise users are the biggest wankers out there.

nowaysj wrote:Always fighting this fight in my head. I'll end up with 2, 3 devices with 10 lanes of automation to make one phrase or something, and then if I go audio with it, invariably there will be something I wanted to change. But if I continue with midi, it becomes so cumbersome that I can't really move it around and tweak it further. No win situation for me.

I vow to print to audio more often though.

Or just create another working project with your rendered stuff, if you want to change anything, go back and tweak it from the original project.

I reckon my learning curve has exponentially soared since I got out of the 'old skool' method of writing dance music.

By that I mean running everything in midi, and building songs in a lateral and pre-meditated fashion.

My tunes were boring, and lacking in energy.

As soon as I embraced the concept of bouncing ideas to audio, and layering them without concern for composition and being really playful with frequency, quantize and arrangement I started to enjoy it a whole lot more and my tunes got a lot better.

Slothrop wrote:

Jolly Wailer wrote:if you dont need to do it you dont need to do it.


personally never really do it for the types of things most peeps on the board do it for.. i.e. processed face bass

I have to say it kind of winds me up the way that in some areas it's become this thing that you sort of have to do and everyone has to spend weeks resampling a bass 17 times, not to make it sound totally unlike anything that's ever been heard before, but more to make it sound exactly like everyone else on the scene but with a little bit more squelch / grit / scream / whoosh. Plus it sometimes seems like the engineering is overtaking the music and it's just a resampling arms race rather smewhere that people push new ideas. But obvs that's not always the case, and I think this is mostly just me being a grumpy old man.

I quite like it in principle - the idea of slapping stuff down to audio seems good for getting away from perfectionist / compulsive / anally retentive mode and also it seems like working with something as audio gives you a different sort of approach to it in terms of what you can do and how you think about it. I guess that's partly what the dnb guys are doing, as well as just meaning they can distort then filter then chorus then bitcrush then EQ then filter then distort * 5000 without running out of cpu...

I agree with all that, the arms race is nothing new in that respect.

Its all about how you flex the technology, it doesn't have to mean harder, or grimier - can be softer, sexier or whatever.

hurlingdervish wrote: its just another tool in the toolbox

this...!

lol toolbox

Sook wrote:

hurlingdervish wrote: its just another tool in the toolbox

this...!

yep, a tool like any other. sometimes appropriate, sometimes not.

I was gonna reply saying I didn't like resampling, but then I sat and thought about it...

...I actually resample all of the samples I plan on using before I start using them in the song I'm starting on. I have realised this is intensely anal. However it works for me. If I need to put another sample in the tune as I'm working on it, like I find another sample i wanna use in there...well that gets resampled in Edison (I use FL) even just real quickly, generally an EQ jobby - and then boshed in the tune and has more effects chucked on it. I've also started making sample packs out of actual full songs in SoundForge before even opening the samples in FL...

Seems to be paying off tho cos my tunes sound a bit clearer nowadays...which is a struggle anna half without monitors or headphones

It all depends on whether you need to do it or not.

While the whole CPU usage issue maybe valid if you're really caning effects most computers these days can handle serious amounts of stuff before they bottom out so for me re-sampling is more about stablising a sound. If you've got a tearing lead or nice pad which sounds smooth and reliable then sure leave it as a synth and that want you can automate the parameters and cool shit like that. However if you have a detuned bass going in and out of phase or a patch which is constantly evolved and causing unreliable consistency each time you play the track back then the solution is blatently to resample.

There can well be limitations with resampling if you realise you need to make a change, that's why it's a good idea to save a back up version of your project each time you resample something so if needs really must you can get back to that point.

The Dub Lemon wrote:it's a good idea to save a back up version of your project each time you resample something so if needs really must you can get back to that point.

This definitely - just in general and at all times!! I have multiple versions of everything right from the start. Helped me out when summats screwed up many a time!

i love resampling,

partly for the wriggly lines, they look nicer then boring old midi,

but it also alows you to change up stuff, like if you have made a crazy bad ass modulated riff groove thingy.

you can chop it up into bits and re-order/reverse bits for added changeableness. squicker then reprogramming your synth all the time.

plus making a sample collection of all your procssed dity tones and layering them in yer sampler like osc's is much fun