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Post by foxermod on Nov 7, 2022 14:19:51 GMT
The question is based on pure curiosity, not modular fundamentalism, no way do I feel like there was cheating or something. After all this is music, how can one possibly cheat in music (unless you're milli vanilli  )? I have the same approach as funbun in constructing my tracks, i.e. I build my tracks as one elaborate patch that I manipulate/mix on the fly while recording as a one take stereo mix so I don't do overdubs or multiple layers of tracks, whether this is an artistic decision or pure laziness is not always clear  So my wonder/question is purely based on how were these tracks built and constructed. I always listen the AEtherwaves compilations as a bit of a showcase of what this format is capable of production- and soundwise, how diverse are the endresults etc... what if this was your only equipment what could you make with it... So no this question is not meant as a loaded question to point out which track is more AE worthy than the other... far from. I hope I did not imply that. I was figuring that you were meaning something along theses lines. I wasn't thinking anything about judgement on people's music or anything. Just curious what you meant or how you came about to that thought. I think it would be fun to try and see how I could manage recording more intricate arrangements in one take.... if anything, might be a fun way to build some interesting modular arranging and composition skills. Thanks for the idea  |
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Post by pt3r on Nov 7, 2022 15:11:16 GMT
For me personally the 'lazy' or 'limiting' let's do it all inside one patch approach is what thought me most about my modular and how to make it do what I hope it will do. But then again, this is modular so at least half of the result can be attributed to happy accidents.
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Post by Kyaa on Nov 7, 2022 17:11:59 GMT
This is exactly what I did. Each sequence was recorded separately into its own track with the DAW (Logic) sending a 'click track' to the Euclid Grid via an External MIDI Out track. The Steinberg UR22 interface I have has pretty good pre-amps, and I recorded the tracks at 96k... From there, every sequence or sound was noise gated, eq'ed, compressed, etc. It took a good bit of time, but made a HUGE difference... I'd love to know how DeepSEA approached it too. Ah, that's essentially the same process I used for last year's submission Ballroom Boogie. Maybe to not as great effect though. š Actually I did the opposite! My recording was completely DAWless!
About a year ago I went through a noise/hum reduction exercise for my setup and did a few things that helped like using balanced TRS cables as much as feasible, and powering all devices from the same outlet. I also use short cables by keeping everything close together on a table for the recording. My computer and monitor was OFF, so those noise sources were not present (but a router is not far, so not a noise free environment).
Both my AE system and the Octratrack were connected to 4 channels of a small and cheap Mackie 802VLZ4 mixer, where I EQed the bass drone and the sequence so they didn't interfere with each other. Both channels from AE came out through the 4I/O module. Mixer levels were matched by ear with the drums as a reference. I performed the track real-time (definitely more than one take due to various performance mistakes lol) into a small and cheap Tascam DR-05x recorder in 24 bit WAV mode. Main out of the mixer was trimmed to the loudest that would not peak into the recorder when the track was at its loudest.
The only post processing I did was to trim the dead space from the beginning and the end, and to level it to the -6db requested by Carsten. So no de-noising at all, outside of my cabling and grounding exercise! I'm even more impressed then. š® I've found a fair few of my AE modules seem to generate their own noise, so even if I eliminated all external noise, I feel like I'd still have some noise issues. My general approach this year was just to lean into the noise as a stylistic choice, haha. This also afforded me the flexibility of being able to do everything live with little to no overhead. š |
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Post by DeepSEA on Nov 7, 2022 20:08:54 GMT
I've found a fair few of my AE modules seem to generate their own noise, so even if I eliminated all external noise, I feel like I'd still have some noise issues. My general approach this year was just to lean into the noise as a stylistic choice, haha. This also afforded me the flexibility of being able to do everything live with little to no overhead. š True...I think I was just lucky with the modules I chose this time for my patch. Lo noise was definitely not on my mind as I was rushing to design a patch and complete the song before the deadline lol!
And I agree with you on playing live...that is the most fun!
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Post by DeepSEA on Nov 7, 2022 20:17:20 GMT
If I was limited in only using only the AE system, my submission would have been a lot different. I only have the SEQ16 sequencer, so that would have limited my sequencing, and I don't have dedicated percussion modules...all of my percussion was made with separate percussion patches that were sampled into my Octatrack.
But if that was the limitation, I might have come up with a more creative way to use left over modules to create some kind of percussion. I'm not sure if I could do chord/key changes though....sounds like an interesting patch challenge!
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Post by reductionist_earth_catalog on Nov 7, 2022 20:39:41 GMT
This conversation is very inspiring, and has me considering taking the mixconsole expander out of my rack entirely and mixing with my k-mix/AUM on iPad or ableton so I can set up a noise gate-eq-compressor chain on each track. Iād probably try to record the background noise as well to add a bit of texture back in where it fits though!
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Post by keurslagerkurt on Nov 8, 2022 10:58:19 GMT
My general approach this year was just to lean into the noise as a stylistic choice, haha. This also afforded me the flexibility of being able to do everything live with little to no overhead. š I mostly notice the short envelopes bringing a noticeable 'popping' sound in the audio outputs, even with all volumes of all faders in AE down to zero in my 4ATT/mix. These faders are behind all VCA's in the chain, so technically they should mute everything. So I suppose the sound of the short envelopes bleeds through the power of the mixer, creating the pops. Sometimes it's a bit of a bummer, especially if I want to start the track with a slow fade-in from silence for example. However, as with anything AE/modular, its all about finding workarounds, and making music with what you have. Most of the time, it adds a nice, noisey flavor to AE which I enjoy a lot. |
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Post by maydonpoliris on Nov 11, 2022 23:49:11 GMT
interesting conversation about your process and approach to noise. I also don't mind how it all happens but enjoy hearing about how it does.
For the record mine is recorded in one hit with the most noise possible and everything happy accidents as I still know nothing about modular tech. Only post I do is put it through audacity to get rid of some of that hum and pops from the env and mixer.
on Aetherwaves it is internal except for a bit of overdrive pedal and drum Ambience reverb on the zoom mixer).
For other tracks mostly Ae internal/sequencers but sometimes add controllers like 0-control/Volca Modular and ones that are done for Rogers collabs I add melodies by bashing away at the monostation until something sounds ok.
I really like those sequencers you can bash away at to change it up a bit. good therapy too.......
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pol
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Post by pol on Nov 13, 2022 16:11:18 GMT
99% of my music is recorded into an Akai MPC, then I can fiddle away with it to my hearts content until it produces something I'm happy with. Then the audio is usually recorded "live" to stereo in my Zoom recorder. The 1% is my Aetherwaves contributions, these are all live recordings into my Zoom recorder..... Last years was even mono and just made stereo on the PC before sending it off. I have all the AE sequencers except the SEQ8, but rarely do complicated patches as I lose the plot....
My feeling for Aetherwaves is that as long as the sounds are 100% AE that's fine, and it's not like we're really policing it anyway! That sets a creative restriction which, hopefully, inspires you & I to do something a bit different to our usual. Next years submission (planning ahead!) may well involved my AE being triggered/CV'ed from the MPC because I can do that now
Pol.
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)? I have the same approach as funbun in constructing my tracks, i.e. I build my tracks as one elaborate patch that I manipulate/mix on the fly while recording as a one take stereo mix so I don't do overdubs or multiple layers of tracks, whether this is an artistic decision or pure laziness is not always clear 
