Renegade Theory's topics - tribe.net

soundcloud.com

asperalways — Thu, 06 Aug 2009 13:51:34 GMT

Hi all,
Sorry I haven't been around much, but as has been discussed, tribe is a bit of a back shelf item for me now given time and other responsibilities that I have.

I just wanted to drop a line and let everyone know that aside from hosting tracks on www.soundcloud.com (which I recommend you do also - great site with a good look and feel and a lot of users) I have also created a group for Renegade Theory. This link should get you there: http://soundcloud.com/groups/renegade-theory

I hope that you'll check it out and join in the fun.

Keep chillin' and I hope all is well in your hood.

posted in Renegade Theory - 2 replies

Post new tracks here!

Sun, 09 Dec 2007 07:02:49 GMT

I thought there should be a thread where we welcome people to share their work and get feedback. I liked what was going on in the "Bass in yer face" thread, so there should be a context-free place for people to just say, "look what I produced!" That way, we can all have a listen and respond. I'm sure topics will emerge for us to digress upon.

posted in Renegade Theory - 85 replies

Bombastia Mix - critique welcome

1038inthemorning — Tue, 17 Mar 2009 01:43:47 GMT

ummm, well, this really isn't as cool as the title makes it out to be, but I was goofing around with some buddies in my living room, having a bit of a party for my 24th birthday, and I decided it would be cool to bust out the vinyls, cobble together some junky equipment, and try to DJ a bit. I'm by no means a DJ, my thing's producing, it always will be, but I love slappin' wax, I gotta say. So I recorded a jungle mix that you all might enjoy (I hope). It's sloppy, but damn, I had fun.

Recorded into Ableton, with a Technics SL 1210 MkII turntable, a Numark DM1002 2-channel mixer, and a reeeeally old LP player that has no pitch control, no drive control (actually runs on a belt drive haha), and it wobbles and jumps like a 3 year old on acid. Yeeeeah, that's my excuse for my sloppy moves on the decks. Here's the tracklist:

1. KRS-one - Sound of da Police
2. Serum - Rub a Dub
3. Serum - Getting Hotter
4. Serum - Shaolin
5. Serum - Only a Dream
6. The Prisoners of Technology - What Does It Mean (Mole’s Network mix)
7. Renegade - Midnight ‘96
8. D8A - Cutting & Scratching
9. 2pac - How Do You Want It
10. Zinc - Robot Party
11. John Rolodex - Wrecking Ball
12. John Rolodex - Acid Jungle
13. Chevron - Gary Grew Some Garage
14. Disårder - Suicidal Bomber
15. Renegade - The Soulster

www.sendspace.com/file/a62op0

posted in Renegade Theory - 0 replies

ReNoise ?

embersandsparks — Sun, 11 Jan 2009 22:55:02 GMT

Anyone familiar with this approach, or better yet, using it?

Very curious about your experience or impressions.

Review: http://createdigitalmusic.com/2009/01/09/exclusive-renoise-20-launch-115-whats-new-how-to-connect-to-your-workflow/

One quick snippet from the comments:

> Well, aside from the fact that Live and Renoise share some interest from people of … certain musical persuasions (okay, electronic) … they’re pretty different. Live is oriented toward larger groups of samples triggered in scenes, traditional-style piano roll editing and timing, etc. Renoise is more about building patterns from the ground up with trackers, which is also a very different paradigm in terms of how timing subdivisions work. That’s hard to put in words, I now realize, but the thing about traditional apps is they have a fairly fixed approach to time as the sudivision of a bar from the top down, whereas trackers construct the bar based on the length of little atoms of time from the bottom up. And so while some people choose to live in one world or the other exclusively, I can certainly see coupling Live and Renoise (or Renoise and something else, like Reason) for various reasons. <

posted in Renegade Theory - 1 reply

the information

Sun, 05 Oct 2008 15:23:45 GMT

Has anyone heard Becks album The Information?

The reverb sounds SO GOOD!!

does anyone know what they used for reverb on this album?

posted in Renegade Theory - 3 replies

Dr Synthesizer: Something to lighten your day

tlann75 — Sat, 28 Jun 2008 18:09:16 GMT

http://www.youtube.com/watch?v=qWJlAtjEOcM&feature=related

http://www.youtube.com/watch?v=RZX2Bn9Ya_k&feature=user

posted in Renegade Theory - 4 replies

advice welcome

1038inthemorning — Thu, 01 Jan 2009 08:08:18 GMT

The great thing about being part of a community where everyone is more talented than you is that I can lean on you all for a helping hand. I'm working on a jungle/drumandbass track that's sort of supposed to read like a story. I feel like I need some outside opinion on it before I can go much further with it at the moment. Anyway, peep it if you have the time, and read what's written there. I'm not really worried about the mix right now, I'm more concerned with the arrangement.

http://www.icompositions.com/music/song.php?sid=103326

posted in Renegade Theory - 1 reply

Is this thing on - tap tap tap

asperalways — Mon, 22 Dec 2008 23:54:27 GMT

Hey all. Just checking in. Hope that all are well. Have a happy holiday season.

posted in Renegade Theory - 6 replies

Love from Dave Smith Instruments...!

joel — Wed, 08 Oct 2008 01:22:06 GMT

For those who don't know, or haven't seen me in a while (that's actually most of you...!) I've been on a mission to make this new Media project work. One of the people I always wanted recognition from was the inventor of the Prophet Keyboard, Dave Smith. Remember the Eurythimics' "Sweet Dreams"? The Dave Smith's Keyboard. He's up there with Roger Moog and Roger Linn as one of the inventors of modern keyboards. All that stuff you hear from Stevie Wonder or Pink Floyd? He's one of the guys who made that happen!
So I showed them some of the work the project was doing and how I wanted to use their stuff. This was the response on the Dave Smith Instrument News Page...:

Evolver + MIDI Turntables = The Opposite of Faith

October 6, 2008—One of the great joys of making musical instruments is when somebody uses them in a way that would never have occured to us. J and DJ Quest of The Opposite of Faith are using an Evolver as a synth, controller, and signal processor in a truly unique way. Check out their online press release.

http://www.theoppositeoffaith.com/Press_release_DSI_001_01_full.htm
_________________________________________

http://www.davesmithinstruments.com/news/index.php

It's just kind of a dream come true for me :-D

...and there's more but I'll send that when its ready...

Thanks!
J

Oh, and if you haven't-go take a peak:

http://www.reverbnation.com/oppositeoffaith

posted in Renegade Theory - 2 replies

virus TI

Tue, 07 Oct 2008 00:13:43 GMT

anybody experienced with using this? I'm looking into getting the TI snow to use with my macbook. anyone have specific experience with...

using the plug-ins in the max/msp vst~ object?
using the plug-ins in digital performer?
using the device as a coreaudio device separate from the synth functions?

on paper it looks like the thing I want to buy next... as I've played with my friend's virus and I love the sounds... but I want to get some info on the usability.

posted in Renegade Theory - 0 replies

MODERN INTERVALLIC MNEMONICS: Let's make a list together

looppool — Sun, 28 Sep 2008 14:58:32 GMT

In John Zorko's last 'anthemic quality' thread, we talked about
pnemonics used to remember melodic intervals.

Bernstein used different intervals as an exercise to write the songs for his
musical score for 'West Side Story'.

All of the mnemonics I use to remember intervals are from older musical sources like this.

I was thinking it would be cool to create a new set of musical interval pnemonics that someone
in there teens or twenties could find useful.

My thirteen year old theory students just don't know West Side Story or the original Star Trek theme from the 60's

I'll start it off

1 to #4 (to 5) "The SIMP---SONS"

posted in Renegade Theory - 8 replies

"anthemic" quality?

John Michael — Fri, 19 Sep 2008 21:18:29 GMT

Hello, all ...

I'm interesting in how artists achieve that certain triumphant (but not bombastic), anthemic quality in their music. For instance, Rush's "Totem" or "Prime Mover", or Rundgren's "Just One Victory." I produce ethereal electronic music with female vocals, and though it's usually on the moody, darker end, i'd like to create something that is a bit more positive in nature -- not bubblegum, but anthemic and stirring. The thing is, though I 'feel' it when I hear music that moves me like this, I can't yet quantify it. Any ideas?

Regards,

John

Falling You - exploring the beauty of voice and sound
http://www.fallingyou.com

posted in Renegade Theory - 7 replies

Audio/Video MIDI Project: AMV2: Naruto Featuring the Legendary DJ Quest

joel — Sun, 28 Sep 2008 17:27:06 GMT

Scratch Video soundtrack with Live performance!!!

http://www.theoppositeoffaith.com/Press_release_DSI_001_01_full.htm

This is likely the last AMV video project Opposite of Faith will do. It is meant to be a demo of the advanced MIDI set up and creative application of the tools we are capable of. We remixed the song ‘Phaseshift’ and created the sound track to it. It feature the combination of the Legendary DJ Quest-one of the founders of modern turntablism, inventor of ‘Hamster Style’ and ‘Power Scratching’

http://en.wikipedia.org/wiki/DJ_Quest

http://www.youtube.com/watch?v=WyaSiUSR8j4

Once again this is a scratch soundtrack-all sound effects were created through DJ performance and/or sound design. Video cuts were done with Serato and any edits or warping were done in Ableton Live and After Effects.

The Dave Smith Instruments Evolver is the master sequencer and controller in this set up. You can see how it works especially during the end solo. Its sequencer sends out MIDI notes to control both Turntables-which are slaved via MIDI-changing their pitch which alters the speed of the turntable platter, This process alters the sound of what ever the turntables are playing and creating a melody matching the Evolvers sequence. The audio signal is also processed on a separate chanels which is brought in through the effects loop. The Ecler Nuo 4 and the Behringer FCB 1010 control parameter (MIDI Control Changes) to give Quest additional control options.

DJ Quest Set up 1:

Video:

Vestax Controller One Turntable
Rane/Serato Video SL
TTM 57
Mixer Video Cuts were done mostly in a separate pass using Serato Video SL

Audio 1:

Vestax Controller One Turntable
Numark CDX CD Turntable
Ableton Live
TTM 57 Mixer

Various samples and sounds that need to be cut in a particular way were burned to CD and the Numark CD was used

Audio 2:

Dave Smith Instrument Evoler
Vestax Controller One Turntable
Numark CDX CD Turntable
Rane/Serato TTM 57 Mixer
Ecler Nuo 4 MIDI Mixer
Behringer FCB 1010

The Koass Pad was used as a MIDI controller and the Evolver was used as a MIDI slave and sound processor

J from the Opposite of Faith’s set up:

KP 3 Kaoss Pad
Dave Smith Instruments Evolver
Ecler Nuo 4 MIDI Mixer

The Video can be seen here:

http://www.youtube.com/watch?v=bJhsh9sIyRk

The Legendary DJ Quest MIDI solo can be seen here:

http://www.youtube.com/watch?v=h2Zl3qsL9-0

The songs, updates and all video projects for the Opposite of Faith can be seen here:

http://www.reverbnation.com/oppositeoffaith

WE ARE TRYING TO PUSH THE CREATIVE EDGE AND NEED YOUR SUPPORT-PLEASE FORWARD THIS TO ANYONE WHO WOULD LIKE IT!!!

Thanks and hit us up!!!

posted in Renegade Theory - 0 replies

Help me win - vote for my remix

asperalways — Sun, 20 Jul 2008 18:36:05 GMT

Hey all. I joined a remix context and nope to win a bunch of gear if I get 1st or 2nd place. Please hit the link below to go vote for me. I'd really appreciate it. You will need to sign up for a "fan" account to vote, but please take the time to. The original track was a not so crazy Crystal Method track. In listening briefly to the other entries, it sounds like mine is the only one that went the dnb route.
Here's the link:
http://www.fuzz.com/contest/remixingprotools/gallery

Please vote ASAP. Voting closes at the end of September. If you let me know that you voted for me either on this thread or by PM, I'll arrange to get you a CD of my tracks. Just ask.
Thank you, and wish me luck.

posted in Renegade Theory - 5 replies

Where are you hosting tracks

asperalways — Fri, 09 May 2008 20:13:12 GMT

Hey all. As I get more and more music finished, I look for more and more places to get it out to people at. Below are the three sites that I am hosting on now. They are all pretty straight forward and seemingly honest (I tend to fade out reading the legal jargon...).

Let us know where you host. Let's get ourselves out there in the public sight.

http://saro.fuzz.com

http://www.projectopus.com/saro

http://www.icompositions.com/artists/sAro (Also used by our good friend Joe/shavingronaldscar)

posted in Renegade Theory - 9 replies

Staying pretty tonal

asperalways — Thu, 04 Oct 2007 03:35:58 GMT

Well, I can't help it. I've been pretty tonal in my creations so far. It's not for lack of wanting not to, it's just what comes out. I've been using a lot of pentatonic and modal scales, but they are pretty straight tonality. As much as I'd love to jump into atonal works, I can't force my hand. I do what I feel is natural. I guess I haven't yet started a piece that naturally tells me it's atonal. I'm sure that it would be far easier for me to approach atonality if I wasn't working on keys and systems that work on a 12 note system. Sure, I can detune and transpose, but it gets pretty damn complex to create microtonality as much as I'd love to.

Is this a bad thing? No, not at all. I've been thinking lately about how popular atonal music is. I know, it sounds strange, I should say unpopular. I've never heard in on the radio, rarely heard it in films and don't expect most people to get it when they do hear it. Ask the average music geek and they don't have a very long list of composers or producers that they can point to as great atonal composers if they can pull up any at all.

That being said, what do you all think about atonality in modern music? Is it just waiting for it's time to shine (still) or is it destined to be a small side dish to the ever popular tonality that people are accustomed to? Is it a shame that the public ear will not be tuned into it easily?

If you are working outside of tonal structure, what is it that you start with? Where do you go from there. I'd love to hear your input.

And...oh ya...is this tribe on?

posted in Renegade Theory - 15 replies

REmix contect - the Crystal Method

asperalways — Tue, 01 Jul 2008 23:25:13 GMT

http://www.fuzz.com/contest/remixingprotools

Check it out. This is sponsored through a site that I host tunes on. You'll have to sign up to enter, but it may be worth your while. I haven't heard the stems yet, but I hope they are good.
Enjoy.

posted in Renegade Theory - 2 replies

I came here to chew bubblegum and kick beats!

freetheweed — Wed, 30 Apr 2008 00:44:14 GMT

But I gotta use all my bubblegum to make beats!

http://ohhaveyouseenthis.blogspot.com/2008/01/dance-music-made-with-candy.html

posted in Renegade Theory - 8 replies

My First Remix

asperalways — Fri, 09 May 2008 03:01:43 GMT

I'm happy to say that the cats of Fiction City (http://fictioncity.fuzz.com/) were kind enough to ask me to make a remix of one of their tunes of my choosing. I picked a lovely tune by the name "My Whatever" of which the original is available on their page - http://fictioncity.fuzz.com/. I slowed it down and added a lot of ambience, jazz and classical sounds. It was really a fun project to dig into and I greatly enjoyed and appreciate the opportunity.

Now that I've broken ground in the remix world, feel free to hit me up to create a mix of one of your tunes if you'd like.

As always, thank you for tuning in and I hope you enjoy.
A very special thanks as well to Fiction City
http://fictioncity.fuzz.com/

posted in Renegade Theory - 6 replies

Album/Label experience - care to tell us about yours?

asperalways — Tue, 29 Apr 2008 23:36:08 GMT

Hello all,
I hope that all is well out there on the interwebz and at home/studio in the DAWs.

I've got a topic here that I've been meaning to post for a while, so here goes.

I was chatting with our good friend Joe (Shavingronaldscar) today and he informed me that he was just signed to a label. Wooo hooo!!!! Congratulations, Joe (please remind us of the label's name - I forgot and closed the chat before I marked it). In discussing, I was reminded again of this topic idea which is simply, do you have a label that represents you or have you released your own album? If so, please share your experiences with the group.

The music industry, as we all know and has been discussed fairly often lately, has been going through a sea change. The DIY (do it yourself) mentality is back in a major way. While this has it's pluses, there are drawbacks of course (for everything, right?). So, with the ability to score an album in your own bedroom if desired, what is really the place of a label but to distribute our various arts? It's a complicated issue and one that many of us have very little if any experience with and it would be a great benefit to the group to explore the topic further here.

So, what was your album releasing or label signing experience like? Are you satisfied with the results? What could have gone better if anything? What would you do differently next time or would have been done differently if you had "known better"?

Please feel free to address this topic however you would like whether it be rant form or sticking to the topic strictly. I would love to read about it and, of course, we can all learn from the successes and mistakes of others.

Alright...thanks for playing!!!!

posted in Renegade Theory - 12 replies

Please listen with headphones

tlann75 — Thu, 01 May 2008 19:37:40 GMT

The headphones are important.

http://web.mac.com/cochinescu/Sebastian/Sebastian_Cochinescu/Entries/2007/5/2_Cerini_Holophonic.html

posted in Renegade Theory - 0 replies

Melodyne Does it Again

Brian — Sun, 20 Apr 2008 02:45:25 GMT

My head is swimming with possibilities...

http://www.youtube.com/watch?v=jFCjv4_jqAY

posted in Renegade Theory - 7 replies

Can somebody recommend a good live electronica performance?!!?!?

joel — Sun, 06 Apr 2008 09:05:08 GMT

Hey All-

I haven't been here much lately, I've been crazy busy. Of the many things I've been into, I've been doing a little research for my project. Now, to be honest-I'm old-37. I've worked for a lot of bands (many of which you guys would know) and have seen tons of shows from amazing musicians and crappy ones. I always loved Massive Attack and think of them as one of the first electronica groups (don't know if others do) and once I was in position and had support for my current project, I focus it along those lines (with a little more edge). So that being the case, I started to check out some of the artist/bands who's music I was feeling in the electronica field...

Here's where it got bad. I started to check out some of these groups live and have been HORRIFIED. Prefuse 73 and Autechure bored me to the point of pain. I walked out of both shows. I love both of these group's music, but I can not understand what's interesting about watching a guy hit buttons on a laptop. Don't get me wrong-I'm a knob twiddler-I often tweak my sounds using my Novation Zero, Dave Smith Evolver and Ableton, but no matter how extreme I get, I wouldn't consider that a performance. I've also had the privilege of working with some phenomenal DJ's, so I'm familiar with performance on that level. I WAS SO BORED WATCHING THESE GUYS I CONSIDERED HANGING MYSELF. I could not believe the lack of energy, crowd interaction, stage presence, etc. If the whole room had been dancing that would be one thing, but to have the whole room looking at you while you stand there and hit buttons...I would not want to be the one...

So...am I just old? I can understand if I am. I just can't relate to this as a performance...is newer electronica mostly like this? Is this what's really good nowadays? Is this like what happened with early Hip Hop, where artist didn't understand performance? Where these great performances and I'm just too old or clueless to know?

Somebody tell me...!?!

posted in Renegade Theory - 59 replies

Grand Theft Audio

asperalways — Thu, 17 Apr 2008 19:05:13 GMT

If you aren't in Electronic Music Production tribe
I found this pretty funny and relevant to what we do here:
http://www.beathive.com/station/node/28

Grand Theft Audio: The Top 10 Sample Cliches Of All Time.
Submitted by PXR8 on Fri, 02/29/2008 - 07:11.

* Loop and Sample Tips

Dedicated to the aficionados of the Akai S950, the EMU ESi32, K2000, MPC1000, etc.

"Sampling" may have only been around since the 1980's but the idea of creating music from other recordings has existed since the time of Musique Concrete - a form of music invented in the late 1940's by Pierre Schaeffer. French composer Schaeffer experimented with the manipulation of tape loops to create new compositions.

While Schaeffer's work arguably expanded the repertoire of music to include deconstructed recordings and "any sound", the idea of borrowing and building on existing music has probably in essence been around since the beginning of music itself...

It was even considered an accepted discipline by classical composers: The "Theme and Variations" was a musical form that created variations - literally "remixes" of a melody - often a well-known one. Beethoven was considered one of its greatest exponents. Also, composers such as Liszt used the "Operatic Paraphrase" in the 19th century - a form where they would create new works with the melodies from the famous hit operas of the day woven in. It is interesting that rather than being frowned upon, this was accepted in those days. Also worth considering was that not everyone could then afford opera tickets - and so the Concert Paraphrase exposed musical works to whole new audiences.

In another interesting twist, composer Liszt created the Hungarian Rhapsodies based on themes he heard Gypsy musicians playing in his native Hungary. Unbeknown to Liszt, it turned out that the Hungarian musicians themselves had appropriated the songs from the old Hungarian nobility!

Jazz music also took existing themes and reworked them in new and novel ways - and so did Reggae.

It might be ventured that "club music" performs a not-too dissimilar function nowadays in creating variant forms for different audiences. But that's not how big acts and their lawyers see it - especially when there's money to be collected.

Bridgeport Music Inc apparently filed suits against over 800 artists over use of samples from the George Clinton catalogue (Source: Wikipedia/sampling )

The point is - it has been going on forever, it will always go on. You can't really stop it, musicians are like roaches. You just drive them deeper underground...

In my view the real issue is the boundary between inspiration and plagiarism.

It is interesting to note that Pierre Schaeffer was interviewed in the 1990's and asked what he thought of the modern sampling movement. He sneered at it, saying it was "Too easily done".

And so after that rather lengthy intro (oops) I come to my take on the "Top 10 sample cliches of all time". Hideous examples of how creativity and industry have been superseded by the pressure of a huge credit card bill for the purchase of that nice shiny Akai S1100....

If you are still using any of these sounds, consider yourself officially tarred and feathered.... :)

1. Terence McKenna samples. This should be made a deportation offence, it is not even funny.

2. John Bonham from Led Zeppelin - "When The Levee Breaks" drum loop. Especially if you (badly) shoehorn ghastly wailing pygmy samples onto this loop, add a cheesy vocal and have a number one hit. You want to see me break things? Play me that song.

3. French girl whispers. Well these aren't quite so bad, actually. Score bonus points of pure evil if you have no idea what she is talking about but use the sample anyway. One day someone is going to get their revenge by making an "ethnic vocal" sample set which if translated says something really funny - then put it up on all the free download sites and then just sit back and wait for the fun.... hehe....

4. Ethnic voices. Look, it's music not packet soup. You can't "just add hot water and stir voila." That isn't being creative. Ok, I did it too. Anyway...

5. Loleatta Holloway's awesome "Love Sensation". Who got to it first? Was it Black box in about 1990? I wouldn't have minded so much apart from the obvious "one finger keyboard playing" of the high note. Dreadful.
It just goes to show that all you need is a killer vocal.... "You just walk right in and take me away-ay-yeayy"
Some great tracks have been made using cut up pieces of this vocal - and some truly terrible ones. It's probably the most sampled accapella vocal in the history of house music - and I can think of about 20 tracks off the top of my head that have used it. Anyway: Find new pastures!

6. The orchestral stab. They used to put this on old rave tracks all the time. Kinda funny really, it always did sound daft.

7. Anything by James Brown. Especially the "Whoo. Yeah." one.

8. That Shakuhachi flute sound, I think it's from the old Emulator II library. Used by Enigma and just about everyone else. Has been played out since about 1991. Do not pass go. Do not collect 200 pounds.

9. The Amen Break. The sound that inspired a genre was actually a 6-second slice of an obscure 1969 B-side called "Amen Brother" by the Winstons. It's only a cliche in the sense that everyone and their dog has used it: It still sounds cool if you ask me. That snare is badass! But I feel for the guy from the Winstons... all those people profited appropriating his work and he didn't get a cent. Just plain wrong.

10. Beethoven Moonlight Sonata. This is so not allowed. I mean, you could at least display some erudition and rip off the Hammerklavier or something. (joke)

Well that's my top 10 list. All this stuff is officially "bad form", and if not actually illegal it should be. Anyone care to contribute any more?

On a side note, probably the earliest example of media content being mashed up and screwed around was the cut-up video of Hitler remixed to the tune of "The Lambeth Walk" in the 1940's - anyone seen that one?

PXR8
:)

posted in Renegade Theory - 13 replies

Guitar Center keeps my business (good advice)

asperalways — Tue, 08 Apr 2008 23:55:59 GMT

I may have mentioned this to you cats before, but it bears mentioning again.

THE PERFORMANCE WARRANTEE IS WORTH IT!!!!

I bought my Dennon DJ headphones in August last year with a two year extended performance guarantee ($40 additional option). Today, the 1/4" adaptor broke (the plastic piece inside that holds them together separated and the tip will stick in sockets). I couldn't find my receipt, so I called the Oxnard store where they were purchased and they gave me the sales, sku and warrantee numbers. I called the service center and explained the issue. The first lady thought the broken piece was an accessory. I kindly forced her into transferring to her supervisor and explained the issue to her. She noted my frustration in getting the first operator to understand my issue and I don't think that she really grasped it herself. Suffice to say, the headphones are the most solid I've work for the price (they are tank quality) and they sound bad ass for headphones and they still work fine minus the 1/4" adaptor being broken. She took the information over the phone and opted not to send the (apparently optional) form for me to fill out and gave me a tracking number over the phone and told me to expect a two party check within a couple of weeks or so (two party meaning in my name to be used only at any GC). I accidentally failed to mention that my old Sony adaptor fits and works fine. The check's in the mail and I am super satisfied. And, I had purchased these with a similar check (though less in value) for my busted Seinheiser cans that I no longer even had at the time (they did really have a short in the cord though...Mouse may still have them - lol).

So, the moral of the story is, boyz and goilz, buy your semi-disposable gear from GC and get the Performance Guarantee. It's based on price of the item and it's well worth it. I've never had a pair of headphones last flawlessly for more than two years. If I was getting to the point...woops, I can't believe they just broke. It may not be honest, but how many times have you been burned on gear? Take it back, yo!!!

Okay, shameless promotion of my devious methods and GC's policy ended.

posted in Renegade Theory - 5 replies

critique my piano skills!

Mon, 31 Mar 2008 04:20:53 GMT

I've been playing around with improvising on the piano (well... AkoustikPiano plug in)... please give me your impressions!

http://www.themoodchannel.com/test/piano_033108.mp3

posted in Renegade Theory - 17 replies

Slurfing the Ineffable

Brian — Sat, 22 Mar 2008 20:59:38 GMT

Hello Renegaders,

I would like to share with you all the latest Circus of Mind track called "Slurfing the Ineffable"

I you have any opinions or comments, I would love to hear them.

www.circusofmind.com/slurfing_the_ineffable.mp3

Cheers,

~Brian

posted in Renegade Theory - 6 replies

Something very different…The KARAS AMV by the Opposite of Faith featuring DJ Quest

joel — Wed, 06 Feb 2008 14:12:08 GMT

What you are about to see is an evolution in film sound design far different from anything you‘ve heard before…

The Karas AMV

Anime Music Videos (AMV) are created by hobbyist who take a popular song and add it on top of existing Japanese Animation footage to give the Video a new and more exciting feel. The Karas AMV was created around the idea of taking found sources and samples from existing Japanese Animation titles and combining it with performances highly skilled musicians and Turntablist to recreate the film sound effect work creating a frenetic, hyper real approach to sound design. After the original sound track was removed, the music (Bass performance and Ableton sounds by J of The Opposite of Faith) was written and recorded into Ableton Live- every other voice, movement, moment and mood was created on Turntables and through Turntable mixing techniques (cutting, scratching, transforming) while performing to the video. The approach was expanded by having the Turntablist (DJ Quest and DJ Cplus) manipulating the Dave Smith Evolver and the Korg Kaoss Pad through the DJ mixers and MIDI control. Performances (Bass, Turntables) were record through the EMU 1616 into Ableton Live and warped, edited and combined there. The final mixdown was performed in Ableton Live and Mastered using Summit Audio Tube EQs.

This is the first in series of creative Music/Video/Art Projects by the Opposite of Faith-creativity without compromise…

http://www.youtube.com/watch?v=7P6unZCvFCs

…Tell your Peeps…make this bitch viral…

Contact:

Info@theoppositeoffaith.com

DJQuest@DJQuest.net

Tools Used:

Ableton Live 7-Editing, recording, sound design, video sync
Warwick Bass-Performance
Vestax Controller 1-Performance
Rane TTM 56 Performance Mixer-Performance
Numark CDX-MIDI control, Performance
Ecler Nuo 4-MIDI control, Performance
Dave Smith Evolver-sound design
Korg Kaoss KP 3-sound design and manipulation
Summit Audio Tube EQs-recording and Mixdown
Emu 1616 -recording

posted in Renegade Theory - 7 replies

memekast 030: murdasloth

Wed, 20 Feb 2008 08:22:12 GMT

http://mk2systems.com/memekast/mk030
(a dubstep set for valentines day!)
Six original tracks/remixes by my new project, murdasloth!

posted in Renegade Theory - 6 replies

Circus of Mind (in dub)

Brian — Mon, 04 Feb 2008 17:23:16 GMT

Hello Renegaders.
I have been working on this dub(ish) track for a little over a week.
As many of you know, by this point I am pretty burned out on it and am having a hard time being objective.
If anyone could give me some feedback, it would be much appreciated.
You can listen to it or download it from this link.

www.circusofmind.com/dee_empty_in_dub.mp3

Its called "Dee Empty in Dub"

Thanks for any help or feedback you can give me.

All the best,

~Brian
(Circus of Mind)

posted in Renegade Theory - 26 replies

Virus and M-audio keyboard

Sun, 10 Feb 2008 20:45:06 GMT

Does anyonw know how the knobs on the m-audio keyboard control the access virus?

posted in Renegade Theory - 3 replies

The Official "Mad Collaboration" thread

asperalways — Wed, 30 Jan 2008 19:37:51 GMT

Hope all are well.

I'm really into this exchange idea, sorry to be slow to get 'er started. Below is the log information for the FTP site courtesy of CPR (thank you). If you don't know how to FTP, follow this link for a starter course:
http://www.deskshare.com/Resources/articles/afm_ftp_modes_beginners.aspx
(not an endorsement - I didn't look at the products).

The log in is as follows:
Host address: musetrap.com
User Log in: collab
Password: together

Please feel free to post here if you have any comments. It would be great is people would report what was loaded by them in brief here as well. Perhaps we'll get more people interested via the enticement. We'll keep the log info public. If anything odd goes on...hrm??...we'll make it private if that's cool with all of you. Great, so, now I have to get my sh!+ together and put something up. Happy creating.

posted in Renegade Theory - 8 replies

who likes gabber?

1038inthemorning — Sat, 08 Sep 2007 14:04:01 GMT

I've been getting more and more into gabber lately, trying to make some heavy stuff. I can only really do it if I'm angry, I find.

posted in Renegade Theory - 14 replies

Own Expense finished.

Fri, 25 Jan 2008 22:36:39 GMT

I'm curious to what the response to this will be.
Your can listen to the whole album here

http://www.rhythminmind.net/Music.html

posted in Renegade Theory - 12 replies

the mad collaboration!!!!!

1038inthemorning — Wed, 09 Jan 2008 09:46:42 GMT

who's down with making a track together? it can be our renegade theory theme song!!

posted in Renegade Theory - 21 replies

Added a link up top

asperalways — Thu, 10 Jan 2008 00:03:43 GMT

www.interruptor.ch/dub.shtml

Neat site, really great tips and tricks. Dub motivated, but useful for all.

If you guys and gals come across any sites or forums that you think would prove useful, please let me know and I'll put it up there. I'd like to have a wealth of resources sited here.

posted in Renegade Theory - 6 replies

Chok full o' Dub

asperalways — Thu, 10 Jan 2008 20:04:33 GMT

Hey all. Here's a thread that's holding some great information and tips tricks yadda yadda about dub sampling and production over in our very own Rick's very own awesome tribe Audio Plug-iin Junkies. Check'er out.

posted in Renegade Theory - 3 replies

Newsgroups

samiam805 — Sun, 06 Jan 2008 21:54:46 GMT

I was fortunate enough to take advantage of a very rare open registration to both of these newsgroups.

http://forum.gfxnews.ru/
http://forum.audionews.ru/

They often post when the registration will free up, I recommend y'all stay on it.

posted in Renegade Theory - 4 replies

Programs/Software - What are you using/recommending to people?

asperalways — Tue, 11 Dec 2007 17:48:17 GMT

There are most definitely plenty of tribes that talk softwares and I'm in many of them, but I thought it would be cool to have a thread wherein people can say what they are using, what they really dig using and any other related topics.

Me?
I'm on a G5 powerPC quad
Software: Ableton Live 7, Battery 3, Massive, Absynth
Harware: Korg padKontrol, Novation X-station 25, and I have yet to start using my MOTU 4208 interface out of lazyness (need to get the PCI card installed)

I'm really digging the changes made for Live 7. It's becoming more an more a full range DAW but it maintains a low profile and great interface. Very intuitive. I obviously like the NI plugs. Battery is frikkin' awesome. Massive is absolutely the most aptly names software and it's powerful (cpu heavy as well). It's a 3 osc soft-synth + extra, extra balls. NI plugs offer great sound, but they tend to be a bit buggy in ways on my system - usually within the browser, which I've heard from others as well)

The padKontrol is great. I wish it took a bit more effort to get a 127, but it's really done the job. Great features for live performance as well. Feels more solid than a lot of other pads I've tried. My x-station 25 has been very solid. The keys are not the hottest semi weighted keys, but they work well enough for my needs currently. I like the option of two xlr-1/4" ins for interfacing on the go. My only qualm is that too few of the knobs are assignable. My only gripe is that I'd like more knobs and faders right now. Suggestions are welcome on that.

Wish List:
I'm looking into plugs like Izotope and have heard good things for post production (I'm not really there yet though). As I said, I'd like a knob/fader based midi trigger (might go for the low cost m-audio option - I forget the name off the top of me head). I've also been getting giddy about maybe picking up an Apogee Duet interface.

All right, anyone else want to give it a go? I'm always looking for new ideas.

posted in Renegade Theory - 5 replies

NIN "Right Where It Belongs" - composition?

kage — Wed, 12 Dec 2007 08:22:57 GMT

has anyone taken a look at this song compositionally?

http://uk.youtube.com/watch?v=gp2eOHOlBxE&feature=related

d minor with a raised third in the melody the first time around, not raised on the second pass. it sounds rad, but what gives?

posted in Renegade Theory - 11 replies

Bass in yer face!!!@#$@$^%&&^**(()

asperalways — Tue, 30 Oct 2007 23:07:22 GMT

So, I'm still learning, but Bass and Cymbals are my shortcomings so far. I'd like to pose the topic of bass to the group to see what you guys are doing with it. So, here's what I've got:

My last couple of finished tracks use either sampled bass (through the gate/eastbeat) or a synth pad sound (locusts in love). They sound groovy enough, but I most definitely need to warm up the sounds in the bass and boost them a bit. What are y'all using to boost and warm up your bass? I've heard good things about Waves and Ozone (i think that's right at least). However, they seem to be CPU heavy. Do you work out the processing of the bass and then render it if you are overloading on the CPU trying to do it live in the track?

On a track that I'm working on now, I've started using Massive (what an appropriate name)for the bass line. However, the first bass sound I have I do not want to be so static with. I feel like getting another bass sound involved there (a la Blockhead's last release or Tipper for example). What I have now is a deep and gritty growling bass (all two notes - it almosts shames me to be so simplistic, but it works out and sounds good) and I'm thinking of floating another, cleaner more rhythmic bass over that and let them trade off a bit. I don't want to have them run on top of eachother full time, but perhaps in places they will. I guess side chaining some compression on that would be a good idea when the overlap, ya? Any input or suggestions would be much appreciated.

posted in Renegade Theory - 20 replies

Midi controller

St_Technic — Wed, 21 Nov 2007 21:42:28 GMT

Parentals asked what do i want for xmas... Im just starting to get into production, so i wanted to pose out to you guys what do you think would be a good midi keyboard controller? Perfer not lowest of low ends (but still cheap), something thats good, works well and i can grow into and up with. ideas?

posted in Renegade Theory - 12 replies

Thought on reverb

samiam805 — Sat, 01 Dec 2007 03:39:07 GMT

Thoughts on reverb

by Jeremy "Jezar" Wakefield

The first thing you need to be aware of is that all reverb plugins are rubbish. That's right! All of them! It's just a fact I'm afraid. If you want to hear what real reverb is, take your stereo recording Minidisc into a church, put it in record, and then clap your hands a few times. Then yell out something. It's best if you do this when other people aren't around, because they might think you've gone mad and call the police. If going to a church isn't convenient, then try something like under a highway bridge late at night when it is quiet. Be aware you still might be mistaken for a lunatic and get arrested. Anyway, when you get the recording home, listen to it over and over so you can hear what's going on. You might even try emulating it using the settings on your favourite reverb plugin, but you won't get far. The hand-clap is probably the toughest test for a diffuse reverb sound. It has to be a real single-impulse hand-clap. Not that silly "crunch" from a drum machine.
If you don't have a recorder, don't worry. Just use your ears when you are next in an interesting reverberant environment. A real concert hall is amazing. Really make the time and put some serious effort into *listening*. Especially if you get there early on enough when the audience is shuffling about. Someone is bound to drop something with a bang, or crack open a can of Coke. Listen to how amazingly diffuse the reverberant sound is. Listen to the magical way it seems to be coming from all directions at the same time, listen to the gentle softness and subtlety with which it fades away. Now listen to your humble reverb plugin again. It's not even close is it?
Perhaps one of the best - and certainly most famous - of reverb devices is The Quantec Room Simulator. This device was first sold in 1982 - for a high price - and amazingly hasn't substantially changed since (more on this later). Quantec released another version that was controlled using an IBM PC, but no-one was interested in that (why would you want to leave a PC standing around in your studio just to adjust reverb settings? This was a thoroughly silly idea which nearly destroyed the company).
Quantec have now released a new Quantec Room Simulator, called The Yardstick. It uses the same 1982 reverb algorythm (in fact surprisingly, a slightly CUT DOWN version of it), and it comes in a much smaller box, and sadly has no analog inputs/outputs, just industry-standard AES digital connectors. "Buy your own A/D convertor box" they unashamedly say. "We're moving into an all-digital world".
If you want to hear what The Quantec Room simulator sounds like - and get some idea of the quality of top-end reverbs in general, then go to their web site at http://www.quantec.de where you can download MP3 files showing what different room presets sound like. They have thoughtfully included the original dry test samples, so you can download those too, and see what results you can get out of your own reverb system. It is an interesting experiment.
The Quantec does a stunning job at simulating rooms, but is unfortunately not anywhere near as useful when mixing pop music as you might expect. That's why you often find a Quantec in studios that specialise in classical music, but less so in studios that do mainstream pop.
The problem is that you don't really want most pop music to sound like it was recorded in a particular "room" at all. When you mix, you want it to sound "spectacular" and "other-worldly", and this has much less to do with realism, and more to do with flexibility.
The mainstay of pretty much all top studios around the world is the "Lexicon". Of course you can buy budget reverbs made by Lexicon these days, but these aren't even close to their top-end units. For many years, the Lexicon 224X was the machine to die for, but this has been replaced by the cheaper and more powerful Lexiconn480L as the machine of choice.
I started playing with the Lexicon 480L in about 1986. It is still the premier machine. It is a source of mystery to me how a 1986 machine can still outperform everything else that's out there, still commanding such a high price. I can't remember offhand the technical specs of the engine in the Lexicon 480L, but perhaps it has DSP technology that is so top-end that it is above the line of quality that gets pulled into mainstream consumer electronics.
One thing that is for sure, is that it is certainly one of the most flexible reverb machines around. Not only do you have access to a wide range of adjustable parameters, but you can also configure the machine to be one, true-stereo machine, or instead, do what most people do, and configure it as two totally independant mono-in, stereo-out reverb units.
The large number of adjustable parameters on the Lexicon 480L mean that you can very much tailor a reverb sound for your particular song, and go beyond the "realistic" defaults for various acoustic spaces.
One of the problems with most reverb units - especially budget hardware ones, and nearly all VST/DirectX plugin units, is that they stick far too much to academic models of statistically perfect rooms.
Not only do such statistically perfect environments not exist in real life, but even if they did, you almost certainly would not want to record in them. A room with perfectly parallel, perfectly smooth walls? Erm.. No thanks! Real environments are filled with all kinds of interesting reflective surfaces and angles, and indeed objects, which leads to a fascinating "scattering" of the sound, in an almost chaotic way.
Another fundamental misunderstanding of academics (why don't they get their head of out math books and listen with their ears instead of tape measures and calculators?), is the assumption that reverb is based on two discrete components "Early reflections" and "Reverberant field". The "Early reflections" are normally just a bunch of taps off a delay line, supposedly representing the sound reflected for the first time from all the walls and ceiling. The "Reverberent field" is just a diffuse scrambling of the early reflections, with some kind of feedback to keep it going.
Anyone with so much as a whiff of common sense, who thinks about the problem for more than a few
milliseconds, can realise that this is nonsense. Even ones own ears will tell you that this is nonsense. Whilst people keep labouring away under the false assuption that these two elements are the key to reverb, then we will continue to have poor reverb units.
Both Lexicon and Quantec have proved by the existence of their products - by far the best reverb units in the world - that early reflections are just a myth brought about by clueless academics.
Quantecs argument against early reflections is simple and philosophical. A room is a just ONE signal processor of sound. It doesn't have the intellegence to seperate out the two concepts or even to care about whether a sound is direct or reflected. It just bounces and diffuses ALL sound, no matter what its source.
Lexicons argument against early reflections is a little more decriptive. They also argue that a room just reflects and diffuses sound, irrespective of source, but point out as well, that you could be hearing second or third generation reflections from the areas around you, before you even get the first reflection off the back wall. Reverb, Lexicon say, is an extremely complex reflection and diffusion pattern that BUILDS UP to a dense thickness from the moment you hear the original dry sound onwards. That's why the controls on a Lexicon are quite different to other reverb units, including important, but new, parameters like "spread" and "shape" to control how the reverb thickens and builds up before decaying.
After this, you realise that taking a simple pattern of dry echoes, and immediately splattering them into a dense reverb "field" will never give you the same depth of feeling and excitement that you get listening to the real evolution of reverberated sound in a concert hall. Real reverb doesn't just start, and fade, it changes - it travels - and *really* moves - you get a sense of that movement of sound in a real hall, and you feel a rush of excitement as it swirls around you.
The Chief Designer at Lexicon has said that Lexicon are now giving up simulating real rooms. They've done that successfully for years! :-)) Now, instead, they are analysing reverberant soundfields to figure out, what are the bits we really LIKE about reverb? Where does that excitement and sense of movement come from? What bits DON'T we need? Are there bits that are really just "mush" and don't contribute anything worthwhile sonically?
Of course - in your PC environment you are *greatly* limited by bandwidth, and that is also why plugins are so poor. The marketing people will want to sell as many plugins to as many people as possible, so there is a great deal of pressure to use up as little CPU as possible. Anyone who's written a bit of "C++" can write a Chorus or Delay plugin in their sleep, with little overhead on the PC. Reverb on the other hand is a real CPU hog. Some people are cheating, I'm sure of that. You simply cannot do the kind of calculations required in the amount of small CPU power that they have, so they are obviously making some assumptions and shortcuts. If anyone knows what tricks they are up to, I'd love to know. Please mail me if you have any details.
In the meantime, for most PC owners, I guess it's either a waiting game for the next generation of high-speed CPU's to come out, or to buy an expensive DSP card for your computer, or alternatively just to put up with the kind of fluttery rubbish that's out there at the moment.
Just don't try clapping your hands through it though.
Regards,
Jezar.

posted in Renegade Theory - 4 replies

tune core? (slightly o/t)

djtbird — Tue, 20 Nov 2007 11:51:33 GMT

[forgive me mod for going o/t but i think this is something many of us would be interested in...]

has anyone encountered this service allowing one to sell thru i-tunes and other digital portals?

here's a link to a faq: http://www.tunecore.com/index/faq

i'm kinda hoping that someone can point out the pitfalls (aren't there always some?)

posted in Renegade Theory - 3 replies

Tempo Robato

asperalways — Tue, 04 Sep 2007 02:06:45 GMT

Robbed timing is great. You will surely all agree. Think Choppin as he was really the inovator of the technique in popular music. So, a frined of mine went off the grid and started making some electronic music by feel. For the most part, it sounds a lot like 5/4 but the last beat of what would be the 4/4 timing is strethced. It sounds great and my first thought was "why haven't I done this yet?" Anyone else trying it, done it or now plan to? It's definitely not DJ friendly, but it is incredibly artistic sounding.

posted in Renegade Theory - 21 replies

In Rainbows

freetheweed — Tue, 30 Oct 2007 02:52:11 GMT

New Radiohead album, available online

http://www.inrainbows.com/

Sounds great, I love the song Arpeggi

With this album the band decided to let people choose what price they want to pay for it, adding an interesting twist to the album's price tag. The physical album won't be in stores for a few weeks, still.

Use this thread to list new releases of your favorite electronic artists, I'm sure I have missed plenty of good albums.

Peace

posted in Renegade Theory - 9 replies

minor keys are blowing my mind

kage — Wed, 10 Oct 2007 20:23:29 GMT

i'm a po' man in search of a break - feel free to laugh at me for my outrageous noobness, but here goes:

previously i believed that, say, if a piece was written in A minor, it would comprise chords that you would also find in C major, since A minor is the relative minor of C major. in other words, the piece would want to resolve to the vi chord of its related major key.

but now my guitar teacher is telling me that because the chord family of a major key is thus:

I ii iii IV V vi vii (dim)

that if i am writing a piece in A minor, the major key related to the A minor key might not necessarily be C - because Am is also the ii of G major and the iii of F major. what gives?

if my piece that's in A minor comprises the same chords as F major, when it resolves to the A minor chord, is that Amin still the i chord in that key, or do my scale degrees get jacked up somehow? my shit is confused!

posted in Renegade Theory - 13 replies

You asked for it.

asperalways — Tue, 11 Sep 2007 06:35:31 GMT

Here's a start at least. This is the first piece that I can (almost) call finished. It's not mastered, but it won't hurt ya. Just follow the link. If you're producing, check out the site too. It's kinda nifty.

It's pretty straight dnb with that eastern feel that I so dig. It gets a bit glitchy too. If you don't have good speakers, you're missing some of it. Basically it's what I like in this electronic music stuff. Hope it's deep enough and that you like it too. More to come in the near future.

http://www.projectopus.com/saro

posted in Renegade Theory - 6 replies

Feel Free to upload to the photo album

asperalways — Tue, 04 Sep 2007 02:03:15 GMT

We need some new pics to choose from in here. Please upload some photos that you feel are applicable to our efforts here if you come across them. I love those that are in there already, but the babies have to be replaced some time (even if it is one of my favorite photos ever).

posted in Renegade Theory - 0 replies

because this is an 'out of the box' tribe, I thought this slightly off topic invitation might appeal to you creative folks

looppool — Wed, 29 Aug 2007 04:11:56 GMT

http://tribes.tribe.net/weirdzithers

I have been playing with a lot of zither experiments that are out of the norm lately.
I had a custom MAXAPHONE and a custom BOWED PSALTERY made for me
and I've been doing experiments with really cheap childrens' toy zithers: preparing
them, processing them, putting them into weird found tunings and different ethnic tunings:
using contact microphones on them and processing them and looping them in weird ways.

Today, in the Weird Kalimba tribe one the artists who is most inspiring to me, Robert Collier
posted pictures of a kalimba/zither that he invented and built and it suddenly occured to me that
there are at least two of us out in the world who find experiments with these simplest of string
instruments fascinating.

So I started googling 'Weird Zithers' 'Strange Zithers' 'Unusual Zithers'
'Experimental Zither's' and discovered there
is an amazing world of people who step out of the box in their music and their inventions.

And I started the WEIRD ZITHERS tribe.

I doubt there will be a lot of members or even a ton of traffic, but it would be cool to turn each other
onto cool things that are out in the world that we have never heard of.

Come join us.

yours, Rick Walker

posted in Renegade Theory - 3 replies

beyond the lines

Tue, 21 Aug 2007 02:07:42 GMT

I see that most of the discussion on this tribe has been related to rhythm and composition theory... which is good stuff... but also sits in an old paradigm. most of these discussions could be about acoustic jazz or oboe quartets as well as they could be about electronic music.

the thing I like about electronic music is that it is soooo much more than what sits on a musical staff!

I compose using asynchronous loops... random event generators... markov chains... weird textures... spectral morphing... granular synthesis... which are all things that don't fit into the idea of pitch and rhythm in any traditional sense.

now... I'm not claiming to be some amazing innovator... I'm just curious if anyone else out there makes music that isn't straightforward about song structure in a traditional sense.

any ideas to share? alternate interfaces for composition? does anyone here compose with texture? any interesting approaches to using control change?

posted in Renegade Theory - 40 replies

And for a joke...

mikejuarez — Wed, 08 Aug 2007 23:15:20 GMT

<Snausages> So, an E-flat, a G-flat, and a B-flat walk into a bar.
<Snausages> And the bartender says,
<Snausages> "I'm sorry, we don't serve minors."
<Myke> That struck a chord.
<Snausages> Careful with those puns, you'll get in treble.
<Myke> But they're key to my humour.
<Myke> And very noteworthy.

posted in Renegade Theory - 10 replies

FROM MP3 TO WAV!!!

manuel — Sun, 26 Aug 2007 18:19:54 GMT

HELLO ALL!!
i'm manuel and pretty new to electronic music production and djing. however many years spent on the organic side.....
i've been reading most of the posts on this tribe and can tell that it is a really helpfull one for me!!! thanks again to the moderator and the participants!!!

SORRY FOR POSTING THIS QUESTION HERE , AS IT COULD BE POSTED ON A MORE SPECIFIC TRIBE... I GUESS,
BUT YOU GUYS SEEM PRETTY ACTIVE MUSICALLY AND SAVVY SO I CHOOSE YOU AS THE HOLDERS OF AN ANSWER!!!

i have some great tunes in mp3 format that are hard to find in wav.
i found a way to convert them in wav format.
Q: is it possible to convert them and get a wav quality sound.???? it might be a stupid question but i won't be stupid on this one once you guys answer!!!!

Q: simple definition of wav , mp3......and what about the mp4?????

Q: is it possible to rip a c.d , in wav format, to my computer . it default to mp3. is it the normal????

thanks to you knowledge holders!!!!
paix
manuel

posted in Renegade Theory - 2 replies

Just out of curiousity....

TeachONE — Mon, 20 Aug 2007 22:50:17 GMT

Is anyone else gonna post some of their work here? I really enjoy this tribe regardless, but I'm curious as it seems that I'm the only one who has actually posted links to my work... I'd like to post more, but I don't want to annoy anyone by doing so...

posted in Renegade Theory - 18 replies

What inspires you to create?

asperalways — Mon, 06 Aug 2007 01:16:33 GMT

I've had a hard time lately sitting down and working out compositions in any way. I think it's because of distractions in my everyday life that are keeping my head from really getting into the music, but it made me think, "hey, what do all these other people do?" So, fess it up. Where do you get your inspiration? What is it that sends you running to your DAW, favorite synth or other instruments to make things happen?

Me? I'm most motivated to work on things when I know that I can devote hours to it if I get into something worth while. I do not like to create in a pinch as it makes me sloppy. As far as moods go, I used to write for guitar and vocals most when I was upset or even angry about something. I find that staring at a computer doesn't lend well to this mood ov creation (it makes me more upset usually). So, I think I create best and most fluidly when I am in a gernerally oaky mood and have the time to put into it. Do I have a muse? I guess so, but I need a muse when I am constructing lyurics more than other musical arranging.

posted in Renegade Theory - 18 replies

drums / percussion -- timekeeper or foundation?

djtbird — Mon, 30 Jul 2007 07:11:51 GMT

for me, the percussive elements are the foundation of the music i make. even if i start out w/other elements first they have to lock into the drums/percussion or generally i'm not happy. i get frustrated with music i hear where the bass doesn't seem to get anything from the drums except the time--certain types of rock do this and even some dance music.

posted in Renegade Theory - 14 replies

Introduction

asperalways — Wed, 20 Jun 2007 04:19:15 GMT

Hey all, I'm Josh and I perform under AsperAlways (accoustic) and sAro? (DJ - Trip Hop and downtempo etc). I've been through two full years of theory/musicianship education and have somewhat recently taken up producing electronic music (which I never thought I'd do coming from a rock musician background). I decided to start this tribe to wax theoretical with all the producers and critical listeners of electronic music that care to chime in. We're not here to be elitists and say what "is" and what "isn't". We're here to help each other learn and grow in our musical knowledge.

Please feel free to discuss any musical topic that wracks your brain. Got a tough chord progression and you need a finishing touch, let me know. Harmonic structure is a favorite of my skills. Can't get that off timed loop to line up, we can help ya out I hope. Whatever it is, let's put our minds to it and see how much better it can sound.

This is a moderated tribe so as to keep the trolls out, but all members can invite friends. So, let's start a posse.

posted in Renegade Theory - 17 replies

Let's start with time signatures

asperalways — Fri, 22 Jun 2007 01:03:04 GMT

Okay, we all know that 4/4 is the time signature for electronic music (as it is now). We could guess that it's because the easiest time signature for listeners to wrap their heads around given it's entirely common use in popular music (what's funny about that is that 3/4 was the "god's timing" traditionally in very early composition - Baroque etc). How often do you hear a waltz on the dance floor in the club? Not very often at all I assume (I haven't heard it). There are some producers that have tunes in 3. Lamb has a few tracks that I can think of (names escape me - one is on the "What Sound" album), Gothan Project comes to mind from Peace Orchestra (black album - 6/8 time with a housey feel to it). Venetian Snares for quite some time has structured a lot of his music in 7/8 with a 4/4 tag to keep it in time with 4/4 phrasing. But what else? None of this electronic music that I've mentioned is main stream per se. So, why the mold of 4/4 in electronic music? Is it that producers are just going with what they know and have heard before? It's not easy to mix from one time to another (3/4 to 4/4 transitions) but it can be done and sounds pretty neat when done properly. The only time that I can recall hearing a time transition of the sort was in a trip-hop format. The response from the dance floor was not remarkable which leads me to thinking that no one really noticed (not surprising - your average party goers are not critical listeners) but they did keep dancing away unaffected.

So, how do you feel about alternative times to 4/4 for electronic music? Have you tried to make any yourself? Any recommended listening in this style that might spur producers to try their hand at it?

posted in Renegade Theory - 22 replies

How do you do it?

asperalways — Thu, 26 Jul 2007 03:08:39 GMT

I've been thinking a bit about structure and formulas that people might be using to achieve them. A while back soemone asked about structure in one of the Ableton tribes and I found myself on a rant that was very much applicable to song writing, but in a rather organic sense (I'll dig up the link after this post). All in all, I realized that electronic music production again kicks down the doors on conventional song writing. First off, I don't like the term song for electronic music tracks as rarely do electronic recordings. Here is a rather standard definition:
song
1. a short metrical composition intended or adapted for singing, esp. one in rhymed stanzas; a lyric; a ballad.
2. a musical piece adapted for singing or simulating a piece to be sung: Mendelssohn's “Songs without Words.”
3. poetical composition; poetry.
4. the art or act of singing; vocal music.
5. something that is sung.
6. an elaborate vocal signal produced by an animal, as the distinctive sounds produced by certain birds, frogs, etc., in a courtship or territorial display.

See what I mean?

Often, I find myself starting a musical idea for a piece and expanding outward in bot directions. Sometimes I am able to get on a flow and start at the beginning and work it out. Where ever it is in the piece that is my starting point, I find that most often I am building on a theme. I usually start with a very simple drum bit (usually a loop that I will either burry completely into the mix or just take out later when it's sufficiently replaced) and improvise a melody part or something harmonic to get the ball rolling. From there on out, it's total chaos. I really can nail down further patterns. It's facsinating how each project really get out of me in slightly different ways.

So, what are your production experiences in this regard? Do you have a pattern that you use regularly? If you have a starting point, what is it usually? What about tools that you use to start with? Do you have a kick ass synth that you start off with, or something else? Let me know. I'm very interested to see how others play this music game.

posted in Renegade Theory - 16 replies

If you like to dj

samiam805 — Sat, 07 Jul 2007 18:16:05 GMT

www.harmonic-mixing.com

In particular is the easymix chart, dividing keys into keycode symbols,
A= minor
B= major
12 keys

In the circular chart they have created (http://harmonic-mixing.com/overview/easymix.mv) you can look at whatever key you're in,
say, Eminor (9B) you can jump up to the relative major (9A) or to the left or right of 9B, (10B which is BMinor the Dominant Chord of the Eminor scale, and 8B, which is Aminor, the subdominant chord of the Eminor scale) .

Now this is somewhat limiting of course because you are sticking to a very rudimentary, accepted, tonal structure. Some of my favorite mixes are mixes which create pleasant dissonance. Depending on your tracks this system does not always work, but is sure is fun.

There is also a piece of software that will analyze your music and figure out the key and organize your library based on key.
Me, I do it manually, which takes a lot of time mind you.....
The chart i

posted in Renegade Theory - 19 replies

Modes and Keys

asperalways — Fri, 06 Jul 2007 01:27:03 GMT

Anyone notice a lot of songs are in D and C major? What's up with that anyway? From an instrumental performance stand point, I understand that some keys are easier for all instruments to play. But come on now, we don't really have to worry about it in electronic music even if we do want to play it live. We have modulating and stepping tools built in to software so that we can play what looks like the key of C on a key board but sounds like whatever key we told it to. So, why so much electronic music in bland ol' C and D?

Beyond that, anyone heard much modal electronic music? that'd be a trip. Maybe some Phrygian Jungle tracks? Mixolydian Trance? I'd love to hear it. I haven't heard it yet, so I started making some. It'll be a while before it's done, but it sounds neat already.

So, why do we stick to these conventions in meter and key? We could always go with the quick and easy "It's what people are used to" response, but isn't there more to it? What do you think? What's your favorite key? Mine has been D minor in the past (noteably the sadest sounding key according to very many) but I have really given up on the major/minor keys and really dig the alternative resolutions that come out of the modes. I'm going to say that my favorite mode is the Dorian (minor scale with a raised 6th if I'm not mistaken). There is a link in the tribe infor to scales and modes. I look forward to reading what you have to say about it.

posted in Renegade Theory - 11 replies

Does anyone know about the San Francisco Electronic Music Festival?

joel — Thu, 26 Jul 2007 15:11:05 GMT

I'm wondering if I should check it out...

http://www.sfemf.org/

posted in Renegade Theory - 2 replies

Another New Track....

TeachONE — Wed, 25 Jul 2007 00:33:11 GMT

So this is a summer of a lot of musical work for me... being a teacher has one really great benefit.... Lemme know if it's a benefit for you too. Check out my new track at

http://www.projectopus.com/node/28654

I'd love any feedback you can give me.

Peace

posted in Renegade Theory - 0 replies

evolution/devolution/spinning around in circles

1038inthemorning — Fri, 13 Jul 2007 04:19:13 GMT

I can't seem to stay still. I always gotta switch genres. It makes my friends and fans here in Oslo dizzy. Serves 'em right for listening to my music, I guess. Check out my progression from uber-chill to monstrous gabber in the last few tracks posted on my site, and tell me if you sympathize.

www.icompositions.com/artists/shavingronaldscar

posted in Renegade Theory - 4 replies

Summer Release Master Mix Up....

TeachONE — Thu, 28 Jun 2007 14:24:38 GMT

Just posted a 20 minute mix of some of my tracks at www.projectopus.com/teachone

check it out... It's a free download.

Peace

posted in Renegade Theory - 4 replies

SFSU's Electronic Music Degree

labalianne — Sun, 08 Jul 2007 18:58:41 GMT

I'm curious...do any of you happen to have this degree or know anyone that does?
I happened to stumble upon this degree's existence while fooling around with google.
http://musicdance.sfsu.edu/music/ba_music.html#emusic

posted in Renegade Theory - 5 replies

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Modes and Keys

Does anyone know about the San Francisco Electronic Music Festival?

Another New Track....

evolution/devolution/spinning around in circles

Summer Release Master Mix Up....

SFSU's Electronic Music Degree

The Official "Mad Collaboration" thread