V Snares is one of the most overrated producers going. Ok, I have said it before and Ill say it again. Hurtdeer wrote:also snares owns, that may not have been the best example of his ridiculously complicated drums though, legend4ry. Oh yeah and the This Bitter Earth drum break is from an old jazz record somewhere. From the little I played with it, it's a lot of fun but much better designed for loops. And Buzz is a lot slower because while it does have the input of a tracker, you need to be pretty dandy at programming its modular environment before you get anything going. FaaastĪbleton is admittedly a lot better than Logic at this. Then I'll start putting notes in right away, pitching, reversing, drilling etc on the fly, and if it sounds rubbish, I don't feel nearly so bad about deleting it because it took me the best of 5 minutes to try it out. In renoise, i load any break that tickles me, maybe i'll sync it and rebounce it, then i'll cut it up or i'll use the pattern effect commands to trigger sample start points. By this point I've usually forgotten my original plan. When i used to cut up breaks in logic, it meant making absolutely sure i was using the right break (to save myself an hour), cutting it up carefully, bouncing, reloading into the sampler, setting the reversed and pitched variations ahead of time incase i wanted to use them later, heavily processing to make them sound clean again, and then spending ages in hyperdraw setting the note input up until i could finally get going. To do this on a tracker is a lot more work than Ableton. I like to layer my drums up so I have a few instances of differents drums running. I fail to see how it's quicker? Maybe (probably) ReNoise is a better program than Buzz but I find ableton to be so much quicker to do anything. The following is but a handful of his greatest moments.MineOurArc wrote:I also work in a tracker (Buzz which is also free!). Since Funk has several dozen releases to his credit, it can be daunting for newcomers to know where to begin-and even long-time fans may have missed something along the way. In other words, Funk does not make what the kids call “dance music.” His style is so powerful that, when he wrote “ 10th Circle of Winnipeg” for his 2014 album My Love Is a Bulldozer, he manifested a sonic blackhole in his studio that forced him to rearrange the space 90 degrees to the right in order to compensate. Once you hear it, his work is unmistakable. We’re talking a 180 BPM clip tripping over 7/4 time, with subject matter equally devoted to how much he loves his cats as to how much he hates Winnipeg. No one else blasts out such belligerent beats at hyper BPM’s in dizzying time signatures and with an absurd sense of humor tempered by brutal emotional depth. Hardcore IDM knob-twiddlers like Ruby My Dear, Kid606, Bogdan Raczynski, Otto Von Schirach and Igorrr may play in the same ballpark from time to time, but no one else has come close to sounding quite like Funk when he’s in Venetian Snares mode. Most of those were bone-rattling breakcore released under the name Venetian Snares-or variations thereof-as well as a few albums issued under his acid techno-oriented alias Last Step, which eschews manic breakbeats for methodical drum machines. Which meant that Funk was easily able to unleash nearly 15 full-lengths-and about as many EP’s-over the course of the next 10 years. What he didn’t know is that Funk had been quietly storing up tracks since the early part of that decade. When Mike “μ-Ziq” Paradinas heard Aaron Funk’s 1999 EP Greg Hates Car Culture, he quickly signed the Winnipeg musician to his label, Planet Mu.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |