[psycosisgenerator]

Is there a hat to throw names into? I'd love to play at this event, the last few events were awesome just to attend!

[psycosisgenerator]

Probably a little late to ask this, but if I wanted to join in on the producer workshop what would/should I bring along?

I don't want to bring too much, but I also don't want to feel like a beggar. Laptop + an audio controller?
Could just be simple and bring the er-1 and some cables.

I missed it last time so I really don't know what I am walking into. Any thoughts?

[psycosisgenerator]

Here's a full length demo of that same mix – replacing the above version.

http://soundcloud.com/user4800749/pg-toxified-mind-mix-second

[psycosisgenerator]

I have tried several collaborations and found them always somewhat limiting, the fact that there is internet between two people and not instant collaboration keeps turning me off. Kinda sad, because in general I love collaborating with other artists…
How do you go about collaborating via internet?

The two ways I have been successfully involved with net collabs in the past were actually pretty similar with different approaches. Was primarily digital work, absent of analog or hardware. Both I thought were pretty fun.
1. (Common to both) We sorted out a basic percussion track to work over. Did this through chat and a couple quick track exchanges.
2. We added a couple layers/synths to the track each, just basic idea generation.
3a. First method we just fleshed out synths building off of each others. Just passing it back and forth over a period of time.
3b. Second method we decided to do a “vs.” type track and split it roughly in half. Then worked our half from there. Trying to keep to an agreed upon style.

Basically step 3 just worked the track most of the way to completion.
4a. We didn't mess with the percussion much, so we went back and did some operation and mods on that to finish up the track.
4b. Each section was mostly complete, so we tossed ideas out and worked out the merge point transfer and intro/exit if those hadn't been already finished.

5. Did our old school crappy mastering job and burned the tracks on a cd.

Well that's how we did it when we were younger anyhow, don't think much has changed really. From talking to some guys from SA they just bounce stems into dropbox on soundcloud, make some edits/additions and pass the parts back and forth until they get something that tickles their loins.

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The other method we tried – quite unsuccessfully was a tracker that had an online networking component. Should have been a fantastic method, somehow it failed utterly.
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I do agree local collabs would probably be far easier in the long run, but sometimes it just isn't all that convenient or possible. If your interested in giving it a whirl let me know. It's not going to be an overnight project or anything, we can do something as more of a side project to see where we can take it, just message me here and I'll give you my email and we can discuss things.

[psycosisgenerator]

as you mentioned that I did experience some problems with a few unreleased tracks I got straight from artists…never happened with any cd rips.

From the research that I have dug up, there is really no fix for it either. Sometimes unloading and re-scanning your songs can work, my pal had temporary luck with this, it's never worked for me though.

I've only had the issue with one purchased source and a couple tracks directly passed to me. E-music for some reason is like a 5% chance, and only for SA psy – not that it should technically make a difference. But it confounds me why my personal tracks, especially in raw wav form would show up drm protected.

As far as the hardware goes, that one looks pretty solid. Appears set up for traktor 2 right out of the gate. Extra midi routing is always a bonus two!

[psycosisgenerator]

It's an issue with how their database handles or decides whether a song has drm protection.

On my end, once I purchase tunes they go into a specific folder and stay there. I don't use itunes or wmp, just a simple player with a lame codec. So I am quite certain that nothing is shuffling any of my tunes around. I have also had it happen to a couple wav master copies of my personal tracks.

There is no indication as to why it does this, I've done quite a bit of searching, and maybe they tuned it out in Traktor 2 by now. But their database skills worry me every time I boot up to play live.

[psycosisgenerator]

Beware of Traktors awesome ability to turn your tracks into mush. Have had it re-write the times on several tracks so that a 8 minute track appears to be a 60 minute track and unplayable. Or just plain deciding to not read some tracks. I know quite a few people that have had problems with Traktor claiming drm protection on non-drm tracks and wavs of songs that people produce themselves.

I almost completely abandoned Traktor when it locked up one of my favorite albums after no problems with it for 6 months.

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Don't think this forum is dead, oddly slow compare to some others, but I just figured it always got slow when there was a local party brewing.

[psycosisgenerator]

Neat sounds, like it!

[psycosisgenerator]

Baconator, I think your method is probably a simpler way of doing what I am doing. Nice! I was manually programming the pitch changes, that might be more fluid though, will try that method.

Kaisersoze, I like those ideas as well, will give em a run to see what results I can get.

[psycosisgenerator]

Ah yes, I bet a limiter would do the trick quite well! Thanks!

[psycosisgenerator]

Some pretty neat weirdness!

Question – How do you get your kicks to roll that fast without mashing up and making dirty noise?

[psycosisgenerator]

I just bounced back to this after some work at it.

As far as a link, I guess I really don't have one – my best descriptor would be those 8 bar pitch rising sweeps that most of the morning and progressive guys use.

The method that I found so far is a combination of things.
Operator or a vst with legato turned on.
Overlapping notes that either rise or fall.
Slow attack for rises, fast for falls with a quick release and mostly full sustain on the envelope.

Then I monkey around to find the particular sound I am looking for, sometimes it's automating the sweep as it progress. After that I set the volume to control the sound level of the sweep in or out, and usually add a filter on top of the whole thing to accent the changes and add a little lfo/panning (live's auto filter handles this nicely)

Guess I wasn't thinking outside the box enough to consider the legato function, this could maybe be done with slower releases but without the legato I find that it tends to really make it sound line separate notes being played rather than them playing off of each other.

[psycosisgenerator]

It's like slow mo forest trance, but much better than most forest trance. Your stuff keeps to a purpose, really like that aspect of your sounds.

[psycosisgenerator]

Good works man, pretty excited to see you get the chance to play there. Going to be some interesting sounds from you I think!

[psycosisgenerator]

Using live's drumrack, but this trick will probably work in most any sampler.

When my kicks get that annoying click to them what I do is shorten up the sample length rather than mess with the envelope. I use sampled drums rather than synthesized, but you can probably work it out with some messing around that way too.

My method though is to bring the end of the sample back to a point just a bit before where it normally loops back to make the next hit, and set it at a point where the wave is intersecting the x-axis. For me this removes the click, because it isn't jumping from an out of sync point of the wave, and has the bonus of opening up some headroom for the bass line. The second part to me is just as important because it means that I don't have to fuss around with the envelope on the bass line so much to get a clean sound.

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