yes, i found a very simple solution for that synching thing. i did not like the way i was achieving the synching with v-modul methods before.
now i am playing it basicaly with hand and head
basic set up is: from the package i am using v-cam to have simply my internal webcam grabbed. and stream it into several effects separatly. all the effect outputs go in separate mixer (v-mixer) channels. whatever comes out through the effects into the mixer channels is moving according to the movement of my hands or/and head/body.
from there you can go nuts with m4l influencing sounds, automation and so on...
by the way...did you try "vizzible". it looks good to me, but as so often it does not work propperly for me and crashes the system
I'd love to see a '...the making of....' video, to see how you achieved that. I recently invested in a leap motion cause it was on special offer but haven't yet worked out how best to integrate it into my workflow.
Music was a bit disjointed for my personal tastes (I mean its not the sort of thing id listen to, not that its bad or anything) but the sound to video sync was impressive together with all the video blends. What did you use in addition to the v-module video plugins?
I haven't uploaded any changes yet. I grabbed a reference track and adjusted quite a bit based on what I was hearing. Still working on it. After listening to it and comparing it to other tracks that are out there I agree with Jemeneye. Definitely lacking the deeper bass. Granted not all tracks have deep bass but this one would lend well to it.
Replica dotted patterns are the deal. I've been using it since Christmas and loving it. I'm sure you could do it using ableton's devices by manually setting the delay time but seriously this is way easier. The reason I mentioned it no longer being available was that NI stated it was free until Christmas and then $49.99 after that. Now it's simply gone. Even the demo tracks and product info section are missing. All their other devices are there. I wonder if they're doing like they did with the supercharger GT and coming out with a better version of the delay to sell as an upgrade. Not sure but either way you can't buy it at the moment.
As to the gated pad in the break it's the first time it's used in the track. It doesn't show up until the first bar of the break. Along with the saw pad. In fact nothing in that break was previously used in the track until the reintroduction of the bass and drums. So I'm right on par with what your stating attempting to keep it from sounding too repetitive. I did add a filter to the gated pad with lfo mod just to try it like you mentioned and it did give it more motion so thanks for that. I really appreciate you taking the time to explain. I feel like I'm right on the edge of really getting a few concepts. Each track gets me closer and all the comments you guys are giving me definitely help.
Bl4cksun there IS something off with the sync on the bass layers. One of the basses actually has a different pattern. just slightly to give it more variation. I'll give the reverb a try. I've been wanting to try that out actually. Some mentioned doing reverb and then doing a high pass filter sweep on the master is a common trick. I'll check it out. Thanks for the tip.
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Did you already adjust the mix a bit? i took a listen earlier and it sounded like you had worked on it. Maybe its just me listening with fresh ears today.
Yeah Replika was a Christmas promotion for NI i don't think you can get it now but yeah im loving that delay especially the dotted 8's and 16's.
As for the breaks in a track, to me a break is a way to change the energy or the feel of a track, to play with emotions and to gradually bring in something new. I think if you use something in your break that you used in the section before the break it can make the break feel a bit repetitive, if im going to use the same melody like your gated pad i will generally try to make it sound a bit different than it did before like using filters or delays etc and then after the break bring it back as it was originally so you kinda come full circle. Or you can adjust the melody or whatever it is all together. you can use the same midi pattern for subtle variations with different sounds so it feels like a build eventually.
Of course this depends on the feel of the overall track your going for.
Ive only had a listen on my crappy pc ear phones, but this sounded spot on compared to commercial tracks to my ears.
I did feel there was a timing issue with the layered bass somewhere between 40s and 1 30s but having listened a few times and read other peoples comments, maybe its a phasing issue.
I loved the break down and the way it built back up, thought that worked really well, but it might have benefitted with a small silence (or just the reverb tail) after the spash at 3:25ish.. that would have given more impact to everything kicking back in without having to mess with the great interplay of melody, pads and sweep in the break. Same is true at 4:52... buts that just me, but give it a try and see what you think.
cant wait to hear what you do with it now that you've picked out some weaknesses.
sorry cant comment on the dull/brightness. sounds ok to my ears in the 0-8khz range
mesmerising bass..and liked the little 8bit Gameboy type rift aswell...quite an ear worm
This device allows you to control several parameters with a single knob, but only changing the parameters on the current armed track.
An example of how this would be used : Having the same effect on several tracks, with a knob controlling the same parameter for each effect, but only having the effect on the arm track being modified, allowing you to quickly switch where the knob is being sent.
For a more detailed explanation please watch the following video.Read more...
From the 26th until the 31st of December, yearly Pro Memberships are 50% off if you use the coupon code GIMMIE when checking out! That's a whole years worth of downloadable projects, HD tutorials, presets, patches and samples, as well as the entire archive of content that's already there. Click here to become a Pro Member or click here to find out more about what a Pro Membership gives you.Read more...
To celebrate my 10 year anniversary of performing live electronic music, I have uploaded my personal archive of live set recordings dating back to 2004.
This is the most extensive collection of my life’s work, with 27 set recordings combining to make a total of 29 hours, 59 minutes and58 seconds of pure original COSM material.
This is all for free, and you can go and check it now at the official website - cosm.audioRead more...
I've been having a great lot of fun with this new Serum VST synthesizer, so much so I've decided to upload the first 10 bass patches I made for Pro Members. Click here to downloadRead more...
Being able to make a fully-fledged song on nothing more than a consumer laptop and a decent pair of headphones is a truly amazing representation of how technology has progressed over the last two decades.
It’s cheaper, faster, and easier. The immense joy of musical creation is no longer a luxury reserved for those with money. Instead, it’s readily available for any person willing to dedicate the time and patience.
But this advancement and opportunity comes with a few caveats, one of which is that the music creation process in the eyes of a bedroom producer has been flipped upside down, chopped-up, and compressed into one holistic task.
Is this a bad thing? No. Not at first look, at least. Every producer has a different workflow, and in my opinion, anyone who stays in the game long enough climbs out of the ruts and moves past difficulties in that area.
Despite this, there is a problem that many developing bedroom producers encounter. The problem of frustration: not being able to finish tracks, taking too long to finish them, or trying to grasp at the enjoyment that you once felt when creating music. This sense of frustration generally has more than one cause, and this article probably won’t fix it, but it may help some of you.Read more...
This utility allows you to specify 16 individual points on the chain selector, allowing you to jump to that point with a single push of a MIDI assignable button.
There is also a previous/next button to move forward or back through your points.
You can also enter text for each preset, which will be displayed in a popup window so you always know which point is selected.Read more...
I've uploaded the entire Ableton Live project files for my two latest tunes, Chelsei's Sea Shells and Mind Gobbies. Here are video runthroughs of each of the two tunes.Read more...
Today I am releasing the beta version of Seepage, an additive style synthersizer/Max for Live patch that gives you control over the behaviour of individual harmonics.
It's available right now for Pro Members to download, play and give feedback on how the future versions should be made.Read more...
Today I made a more in depth tutorial video of how to use the Leakage device for those who are a bit unsure. Click here to learn more about Leakage and how to get your hands on it.Read more...
I am very proud to announce that my latest device, Leakage, is now available for Pro Members to test out. Although this beta version works (I have not been able to break it) there might be a few flaws here and there, so I encourage you to please let me know in the forums if you come across any bugs that need fixing.Read more...