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Post by MaxRichardson97 on Nov 9, 2020 0:45:49 GMT
Hello! Hope all's well. I got my second case last week, and am having so much fun with the new modules, but with a hitch. I've come down with a severe case of analysis paralysis, and I've basically found myself doing the same things whenever I use my system - osc. into filter, into VCA, modulate accordingly with LFO and ENV before feeding to mixer and FX. I'm struggling to come up with original ideas, and find myself repeating what I know I like. I was wondering if anyone has tips on keeping it fresh, and not forming habits? Or do you find yourselves making the same sounds out of habit too? Would love any thoughts!
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Post by admin on Nov 9, 2020 1:05:08 GMT
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Lugia
Wiki Editors
Ridiculously busy...ish.
Posts: 556 
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Post by Lugia on Nov 9, 2020 2:11:03 GMT
Hmm...well, that IS sort of the most basic patch, after all. But try this: modulate everything at audio rates. FM the VCO, the VCF, the VCA, the LFO...just go nuts in that sort of way, because you WILL run across things that really make you pause and go "whoa..."...just like Keanu Reeves!
This is why you'll often see me and a few others referring to "abuse potential" as a positive gear quality. True, that's the sort of patch that you're told has WAY too much modulation...but somewhere in between the original basic patch and the sonic mayhem of FM clangerism, other ideas should emerge. But yeah...have a read thru "Patch and Tweak", then toss the book aside (carefully! it's a BIG frickin' thing...and HEAVY!) and whatever they said to NOT do...do it ANYWAY. Except, of course, for things that could blow things up, like the output-to-output patch error, etc. Take advantage of things in the AE that ALLOW you to do things that "conventional wisdom" says NOT to.
You WILL crank out a whole lot of garbage doing this, let me assure you. But it's also the best way to wrap your head around what a system actually CAN do, when pushed.
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Post by funbun on Nov 9, 2020 3:02:03 GMT
Yeah, just buy the Patch & Tweak book. Follow the many patches listed through out the book. You'll have plenty of ways to rethink everything you're doing. It's really about understanding the machine itself. Generate sound with out a VCO. Chunk the VCAs and EGs and come up with another way to control the envelop.
Another is to play with the machine, not try to make something out of it. Like have noise going to all you're LFOs then LFOs to your VCOs, then have the LFO on a square modulating the VCOs CV2 port.
It really isn't about following a pattern. It's about making new sounds. What you do with those new sounds is up to you. you may make music or soundscapes with them or not. It doesn't matter really.
So, it really isn't about coming up with a patch, it's about exploring and experimenting. You have to become a mad scientist of sorts.
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Post by loopier on Nov 9, 2020 8:51:05 GMT
I like patching feedback loops to get interesting sounds. By that I mean patching the output of a patch, no matter how long the chain, back into any of the inputs of any of the modules in the chain. Or the output of any of the modules to the input to some module that goes before it. Doesn't always work, but when it does it really surprises me. Most of the times being subtle and finding a sweet spot is the trick because it can get very crazy really easy.
What I struggle with the most is not knowing how to use these sounds in a track. When I find something cool, I cannot seem to find a way to combine it with something else. Maybe my patches are too complex and rich by themselves and not leaving space for other patches? But if I leave them like that it gets boring pretty fast. How do you do it?
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Post by spacedog on Nov 9, 2020 10:16:29 GMT
Hello! Hope all's well. I got my second case last week, and am having so much fun with the new modules, but with a hitch. I've come down with a severe case of analysis paralysis, and I've basically found myself doing the same things whenever I use my system - osc. into filter, into VCA, modulate accordingly with LFO and ENV before feeding to mixer and FX. I'm struggling to come up with original ideas, and find myself repeating what I know I like. I was wondering if anyone has tips on keeping it fresh, and not forming habits? Or do you find yourselves making the same sounds out of habit too? Would love any thoughts! No deep thinking, I promise  Well, maybe a tiny bit seeing as it's my 600th post. And... that's sometimes the very point. As you say yourself, "Analysis Paralysis". I've been getting deep into one particular synth recently and my usual method of sound design is to imagine a sound and then think about what makes that sound, and then set about creating it. Of course along the way I might happen upon several "variants" that are interesting. My preference is not to use preset memories, even if they exist on the synth, that helps me to work with the design. In discussion with a friend recently, he likened my approach to playing with Meccano, i.e. working at a basic level (from scratch). His preferred method, which he likened to playing with Lego (i.e. using large existing blocks), is to take presets or pre-designed patches and then start to vary them to hear what happens. I suppose, visually, this is rather like starting with a totally blank canvas or an existing picture that you edit. Perhaps if you have a preferred method, try the opposite. If you don't have a preference, try both. There are many free resources that get you started on the Lego route, for example Patch & Tweak, or even the Allen Strange book. The Meccano route can be kick started by listening to some music and pulling out some sound design ideas. Then you can even spice it all up with a spot of Oblique Strategies Most of all, just have fun. I always laugh when a sound that I've loved for a while (sometimes decades) suddenly pops out. |
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Post by robertlanger on Nov 9, 2020 10:32:19 GMT
... Except, of course, for things that could blow things up, like the output-to-output patch error, etc. Take advantage of things in the AE that ALLOW you to do things that "conventional wisdom" says NOT to.
You WILL crank out a whole lot of garbage doing this, let me assure you. But it's also the best way to wrap your head around what a system actually CAN do, when pushed.
Just to avoid unnecessary fears: with AE, you can even patch output-to-output without worries to blow up something. And even this can create interesting stuff; I remember (vaguely) patching an LFO into a filter output, resulting in a pumping, compressor-like sound... Otherwise, I totally acknowledge what you said, Lugia! |
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Post by dizzeesatchel on Nov 9, 2020 12:53:41 GMT
That's a relief because with so many little cables it's easy to lose track of what's going where - and i'm sure i've accidentally sent output to output in the past and only realised later on  |
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Post by MaxRichardson97 on Nov 10, 2020 19:22:06 GMT
Thanks a lot for the replies - some great tips flying around here! Patch and Tweak is definitely on my radar, I'll have to try and pick it up at some point or another. I had a cool jam using a self oscillating filter which was fed by itself - audio rate CVing seems to be getting me started at least! Going to put it down for a few days, and come back to it with fresh thoughts.
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Post by jcgriggs on Dec 12, 2020 17:35:39 GMT
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Well, maybe a tiny bit seeing as it's my 600th post.
