Station Point

Crafting Tune Artifacts

Labs

Most Common Keys For House and Deep Tech Music

Posted on | March 6, 2018 | No Comments

In an attempt to get my tracks to sound more like the tunes I like to DJ, I ran across an arti­cle about how club sub fre­q’s can range down to about 40Hz, which is just below the note E1.

Note Hz
C1 32.7
D1 36.7
E1 41.2
F1 43.7
G1 49.0
A1 55.0

The arti­cle (wish I could find it again) men­tioned that’s why a bunch of tracks are in F and G — because those root bass notes fall com­fort­ably in the range that can be played back. A low F1 note is prob­a­bly one of those tones that sounds KILLER on a good rig.

Look­ing at some of my favorite house, tech­no, and deep tech tracks from 2017, I noticed that most are in F, Bb, Eb, G, or C. I’m not sure my analy­sis soft­ware (djay Pro 2) is dis­cern­ing major vs minor here.

But check out the cir­cle of fifths:

(By Just plain Bill — Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4463183)

… those keys are all clus­tered in the upper-left cor­ner, which means that they will be easy to tran­si­tion to dur­ing a set because jumps to neigh­bor­ing keys in the cir­cle of fifths sound good.

Now inter­est­ing­ly, this guy’s analy­sis of the Beat­port Top 100 Tracks showed a dif­fer­ent set of pop­u­lar keys — but I don’t play tracks as “Pop”-y as the Top 100. Who knows.

 

Wogglebug + DPO as White Noise Source

Posted on | April 6, 2014 | No Comments

So I recent­ly got a MakeNoise SharedSys­tem mod­u­lar rig, and one thing miss­ing from it was an appar­ent lack of the abil­i­ty to make… noise. White noise.

How­ev­er, by push­ing the Wog­gle­bug and the DPO’s inter­nal mod­u­la­tion rout­ing to the extreme, you can get some decent-sound­ing white noise. Basi­cal­ly, you turn most of the knobs on both mod­ules all the way clock­wise and lis­ten to the DPO final output.

Click for full image

Click for full image

Here’s how it sounds, going through an MMG for fil­ter sweeps and the Echophon for some delay:

FX Halos in Ableton Live

Posted on | February 29, 2012 | No Comments

This is a very sim­ple trick to do, but not so obvi­ous to fig­ure out that it’s even pos­si­ble.  The idea is to sidechain com­press the pro­cess­ing on a Return bus by its own input sig­nal, in order to clear out some “emp­ty” space around the dry sig­nal. It’s like mak­ing a “breath­ing fx bus”.

For exam­ple, if you have a stac­ca­to vocal sam­ple being sent into a reverb or a delay, using this trick the effect tails will “swell in” over time after the dry sig­nal stops.  It’s sim­i­lar to kick sidechaining.

Here’s an exam­ple with­out a halo:

fxNo­Ha­lo

Now with:

fxHa­lo

That’s not the most inspir­ing demo, but this can sound very organ­ic, and helps clear space in a full mix.  To set up in Live:

  • Send sound from an Audio track to a Return track.
  • On the Return track, add a plu­g­in that cre­ates a tem­po­ral tail: ie reverb or delay.
  • Add a com­pres­sor after the fx.
  • Enable Sidechain, and set the Audio From drop­down to the same Return track you’re on.
  • Set the Audio From posi­tion to “Pre FX” in order to sidechain from the dry sig­nal.
  • Set up your thresh­old, release, ratio etc. to get your desired “halo” pump­ing sound around the input signal.

This can be a real­ly nice way to get some breathy flut­ter­ing organ­ic motion in a net­work of Return tracks that might even be cross-send­ing sig­nal to each oth­er in a feed­back network…

Click for full-size

MiniCommand, Machinedrum, and OS X

Posted on | May 11, 2011 | No Comments

So I’ve had a Ruin & Wesen Mini­Com­mand for a lit­tle under a year, but haven’t been using it as much as I would like because it did­n’t inte­grate well with my set­up — until last night.

The stan­dard way to use the Mini­Com­mand is to con­nect it in a closed MIDI loop with the device in ques­tion — which makes it hard use in a com­put­er-based MIDI set­up with a sequencer. There are ways around this, eg. daisy-chain­ing the Mini­Com­mand between the com­put­er’s MIDI inter­face and the device you want to con­trol, but I have found that this intro­duces some small tim­ing delays (enough to dri­ve me crazy).

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Alien Autopsy Via Sample-Rate Reduction

Posted on | January 6, 2011 | 2 Comments

Here’s a cool sound-design trick. If you want to get a vocal-sound­ing ‘for­mant fil­ter’ effect out of a synth that only has a nor­mal low­pass fil­ter, you can take advan­tage of a quirk of sam­ple-rate reduc­tion effects to gen­er­ate mul­ti­ple “mir­rored” fil­ter sweeps through the won­der of aliasing.

Here’s a sound clip from my machine­drum with a sim­ple saw­tooth note and a res­o­nant low­pass fil­ter being mod­u­lat­ed down over a quick sweep. It’s played four times, each with increas­ing amounts of sam­ple-rate reduc­tion applied:

increas­ing srr

This sam­ple looks like this in a sono­gram (I used the Sono­gram View plu­g­in that Apple includes with XCode). Hor­i­zon­tal axis is time, ver­ti­cal is frequency:

Notice that as the alias­ing (reflect­ed fre­quen­cies) increase with the sam­ple-rate reduc­tion effect, you begin to see mul­ti­ple copies of the fil­ter sweep. This cre­ates the love­ly, com­pli­cat­ed “alien voice” sound. Here’s a short Machine­Drum loop I was play­ing around with when I real­ized what was going on here:

alien-autop­sy-192

And for the Elek­tron-heads read­ing this, here’s the MD sysex for that pattern+kit:
alien-autopsy-md.syx

PS: the wikipedia arti­cle on alias­ing has a good run­down on the details of this phenomenon.

Ableton Live, The Machinedrum and The Monomachine (Part 2): Minimizing Latency

Posted on | June 6, 2010 | 4 Comments

In Part one of this series, I post­ed tips for get­ting the Mono­ma­chine and Machine­drum synced and record­ing prop­er­ly with your Live ses­sions. The oth­er half of the equa­tion is which oper­a­tions to avoid that might intro­duce laten­cy and tim­ing errors dur­ing your sessions.

Ableton Prints Recordings Where It Thinks You Heard Them

I guess this design must be intu­itive for many users, but it con­fused me for a while.  If you have a set­up with any­thing but a minis­cule audio buffer, mon­i­tor­ing through a vir­tu­al instru­ment witha few laten­cy-induc­ing plu­g­ins in the mon­i­tor­ing chain, you will hear a fair amount of mon­i­tor­ing laten­cy when you play a note.  The same goes for record­ing audio.

When record­ing a MIDI clip, I expect­ed that Live puts the actu­al MIDI events when I played them — which it does­n’t.  It shifts the MIDI notes lat­er in time to match when you actu­al­ly heard the out­put sound — try­ing to account for your audio buffer delay, the laten­cy of your vir­tu­al instru­ment, and any audio pro­cess­ing delay from plu­g­ins in the down­stream sig­nal path.  There’s one excep­tion to this — it does­n’t wor­ry about delays you might hear due to any “Sends” your track is using.

So your MIDI notes (and CC’s) are record­ed with “baked-in” delays the size of your mon­i­tor­ing chain laten­cy. I’m going to call this baked laten­cy.

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Ableton Live, The Machinedrum and The Monomachine: Midi Sync Notes

Posted on | June 6, 2010 | 9 Comments

Recent­ly I’ve been (going crazy) get­ting the tim­ing tight between Able­ton and two out­board sequencers — the Elek­tron Mono­ma­chine and Machine­drum.  On their own, these sil­ver box­es have amaz­ing­ly tight tim­ing. They can sync to each oth­er to cre­ate a great live setup.

Add a com­put­er DAW into the loop, and you intro­duce jit­ter, laten­cy, and gen­er­al zani­ness to the equa­tion.  And it’s not triv­ial — this is obvi­ous­ly-miss­ing-the-down­beat, shoes-in-a-dry­er kind of bad.  I test­ed the jit­ter / laten­cy by ear, as well as by record­ing audio clips and mea­sur­ing the mil­lisec­ond off­sets from the expect­ed hit times.

I don’t think this is fun­da­men­tal­ly a slow com­put­er / poor set­up issue either — I’m run­ning a good inter­face, using a tiny 32 sam­ple audio buffer. The rest of the set­up is an i7 Intel Mac run­ning OS X 10.6.3, Able­ton Live 8.1.3, Emag­ic Uni­tor 8 midi inter­face and an Elek­tron TM‑1 Tur­bo­Mi­di inter­face for the Machinedrum.

Below is a jour­nal of what’s work­ing, what isn’t, and my the­o­ries on why… Read more

How To: Algorithmic Music with Ruby, Reaktor, and OSC

Posted on | November 20, 2009 | 2 Comments

The basic idea is to use a sim­ple OSC library avail­able for Ruby to code inter­est­ing music, and have Native Instru­ments’ Reak­tor serve as the sound engine. Tadayoshi Fun­a­ba has an excel­lent site includ­ing all sorts of inter­est­ing Ruby mod­ules.  I grabbed the osc.rb mod­ule and had fun with it.

I’m giv­ing a brief pre­sen­ta­tion at the Bay Area Com­put­er Music Tech­nol­o­gy Group (BAr­C­MuT) meet-up tomor­row, un-offi­cial­ly as part of Ruby­Conf 2009 here in San Francisco.

Here’s a link with down­loads and code from my talk.  It should be all you need to get start­ed, if you have a sys­tem capa­ble of run­ning Ruby, and a copy of Reak­tor 5+ (this should work with the demo ver­sion too).

Ruby mono sequence example:

reak­torOsc­Mono­Se­quences-192 MP3

Ruby poly­phon­ic drums example:

reak­torOscPoly­phon­ic­Drums-192 MP3

Leave a com­ment below if you have any ques­tions, or cool discoveries!

oscMenu

Machinedrum Recursive Sampling Test 02

Posted on | November 16, 2009 | 4 Comments

74650135_4a839e2e2a_o

So this is anoth­er exam­ple of using the MD’s inter­nal sam­pler to cre­ate a recur­sive “feed­back loop” of sam­pling and resam­pling and resam­pling.… This has a ten­den­cy of psy­che­del­i­cal­ly twist­ing the under­ly­ing beat.  The way this stuff sounds has real­ly sur­passed my wildest dreams.

MD Recurse Test 02

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Machinedrum Recursive Sampling Test 01

Posted on | November 4, 2009 | 1 Comment

This was a first test at using the Machine­drum’s inter­nal sam­pler recur­sive­ly.  I was try­ing to emu­late my frac­tal waveta­bles sounds in hard­ware, as close­ly as the MD could do it.

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