This is what happens with two drummers & a pile of synths.
Just some collaborative Drum & Synth noodling that I wrangled Don Gunn into creating. Much appreciation to Don for the contribution & for putting up with my ridiculousness.
The result of Metal influence & a pile of analog synthesis/Drums.
Being a fan of “Doom metal” & a synth freak can be rather conflicting at times. In an attempt to converge the two I figured some Amp (more importantly Cab) sound was in order. I tracked the dominant synth & bass lines with traditional mic’d guitar amp methods. 4×12 for the Prophet08 lead & a 4×10 for the Moog bass line. Drum parts tracked live (Gretsch Kit) , a few sequenced SEM & x0xB0x moments to keep things moving, & a fair amount of Tape/MF-104 delay to gel it together. The video is some chaos recorded from the night of drum tracking, the synth instrumentation, & a little time-lapse of the sun coming up after a late night mix.
The result of insomnia, and in-turn a great cure for those with insomnia.
- SEM-PRO sequenced via Oberkorn 3, thru Octatrack, & ValhallaVintageVerb + Cat.
- Drums = DRM1 mk3 sequenced via MPC3000, thru ValhallaVintageVerb.
- VOYAGER sequenced via Oberkorn 3, thru ValhallaVintageVerb.
Out of frustration I created a little Frame Rate Delay & Pro Tools Offset Calculator. It displays millisecond duration for frame, 1/4 frame, & sample duration. It also calculates pro tools 1/4 frame video offsets.
I was sick of figuring out the math every time I needed to time-align pro tools video & audio outputs. For those unaware all video displays/projectors introduce processing delay. Once you figure out the offset between the display & your audio outputs (that’s a much longer post) you can use this to figure out the pro tools 1/4 frame video offset.
I’ve recently added a Moog MF-104M & MF-104Z to the arsenal. I didn’t originally plan on keeping both, but they ended up being very different beasts. The 104M has fuller bandwidth, smoother sound, & modulation. Not to say that you can’t drive the hell out of it, It’s covers a lot of sonic territory. The 104Z has a grit & chaotic feedback loop that I love. I pulled out the D-Scope & analysed the two. You can see the frequency response & THD+N of the dry signal & the BBD Short/Long delay modes in the images below.
I shot a comparison in my dimly lit room. The 104M audio is in the Left channel & the 104Z is the Right. The last 2 minutes or so show off the self oscillation.
- Instrument – MFB-522 / Rhodes MK1
- Gate/under-clocked BBD - KOMA BD101
- Delay MF-104M / MF-104Z
So lets say some drummer is hired to lay down live tracks for a head bobbing/swing flowing/trip hopesk project. Tracks get sent off & everyone loves the vibe. A month or two later the songwriter isn’t pleased. She asks why do the tracks sound so different after “joe the mixer” got his hands on them? I listen to the rough mixes for about 30 sec & say, “well he quantized the F#$% out of them. Killed all of the swing/flow”. All drum & bass parts had been quantized & locked to a straight grid. Turned a swing feel into a rock track.
Moral of the story, Stop using Beat detective, Audio Snap, Audio Quantize, etc by default! The human swing & timing deviations are what help translate musical expression. Leave it be. When should you correct timing? When timing is a problem, that’s it.
This holds true with sequenced music as well. Loops can contain all the same little imperfections that keep music interesting. You can end up with some pretty lifeless content without the contrast between locked sequences & human feel. live interaction along with programmed elements is a perfect match IMHO.
As an example I hit the REC button & tracked two loose grooves with some imperfections pretty far of the grid. I then ran them thru an extreme rough & dirty uncleaned Beat Detective pass. You can hear how the bounce is stripped & creates a lifeless groove.