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Nah man, that washer has too much wow and flutter. You'll need a digital source such as the microwave...Quote:
Originally Posted by davethedrummer
But then again, i kinda like that old skool variance of cycles. Oh, and if you want to play in the kitchen dave im gonna have to put the corks back on the knives and sort out all the bleach into somewhere you cant reach.
Dont want to have to call the ambulance again now do we?
;)
i like mixing on 2 turntables still
that wrong of me?
Nowt wrong with two 'tables and a mixer.Quote:
Originally Posted by audioinjection
http://www.awpbutcherblock.com/image...een%20size.JPG
http://www.makingthemodernworld.org....IM.0389_es.jpg
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"Winamp. It really whips the llama's ass!"
Funny cartoon, btw. I don't understand the CD deck or Winamp thing at all. Seriously, why bother? What's the point? For the "artist" it would be incredibly boring and, if you're hauling out all this gear to just bounce around in front of, you open yourself up to risks of damage, the exhaustion of carrying it, taking apart the studio, etc. for nothing but aesthetics? It's lip syncing. Definitely had the "where did everyone go" thing happen to myself. But, when the last project I was involved with actually worked closely enough to have all 3 people to commit to a show, we incorporated live visuals with it which seemed to pretty much kill that problem. Even for those who weren't feeling our music, they'd hang around just to watch the video. At that point in time, it was always a different type of kludged setup. Sometimes we'd just mixdown the tracks we wanted to play with the lead synth being muted. Then we'd trade off where one person would **** around mixing those tracks in Traktor (very much like a DJ setup), one person would play the synth and bring in some improvisation and one person would play the visuals with Arkaos. Other times, the setup was almost exactly the same except we'd use an old crappy MC-303 to sequence some sounds we made in Reason, while using some sounds from the MC-303 run through a noisey distortion pedal and fuzz wah, and add a different degree of improv there (as much as you can improv with pre-recorded parts of patterns). Other times, if we were just doing straight improv, we'd load a bunch of kick drums and some breaks into Ableton, run a VST host on the same machine to improv some sounds with a MIDI controller, slave up another laptop for other random sounds to be used in Ableton by another person, and throw some added noise on top wih some circuit bent gear. The last method really only pulled a whole floor into it once. And that was kind of a niche party where everyone was well drunk, myself included, and ready for some noise. Kinda wish we recorded that one to see if we actually pulled something off good or if it was just the energy in the place at the moment that made it enjoyable. I guess I can understand people doing it the ways that have been taunted if they really want their set to sound perfect. But, if that's the case, I just don't understand why there's a need to pretend to do a live PA. Just DJ your tracks. It's easier and nobody really gives a **** anyways. Live PAs will always have some malfunction or screwup happen and, if someone can't handle that, they shouldn't bo doing one. It's paying to see lip-syncing. Any "Live PA" that pulls that shit should just call themselves Milli Vanilli 2000.
but then, what would magda do?Quote:
Originally Posted by davethedrummer