Musicians, how on earth are these chord progressions done?

[ankietyjoe]

I think whether you like the music or not, the MPC has been used as an instrument for years.

As for the RME, you'll be looking at the Digiface at that money. I would keep saving until you can go Babyface Pro at least, or even better would be to find a used RME UC.

[WiredIncorrectly]

Crickey, the price of the RME UC. Does that thing output gold electrons?

What justifies that price?

[ankietyjoe]

Crickey, the price of the RME UC. Does that thing output gold electrons?

What justifies that price?

What if I told you that RME isn't expensive, it's just that most of the alternatives are cheap crap?

What justifies the price is the build, the software, the support and the fact that it's actually a professional piece of equipment, not a prosumer lump of shite.

[WiredIncorrectly]

What if I told you that RME isn't expensive, it's just that most of the alternatives are cheap crap?

What justifies the price is the build, the software, the support and the fact that it's actually a professional piece of equipment, not a prosumer lump of shite.

The RME seems ok, but moving into the £800 mark takes some working around the misses. What do I tell her

Show me something expensive if the RME isn't.

[ankietyjoe]

Expensive is a relative term though right? Compared to what? If you're comparing it with a Scarlett, it's still not expensive because you're not comparing apples with apples.

A used RME UC is around £500, and will still be rock solid in a decade. RME will still be supporting it and updating software for it in a decade, and it's 'all you'll ever need'. If you do get to the point where you need more, it'll be because you're at a point where another grand on more interface won't matter.

There are plenty of RME equivalents (Apogee, Lynx, Prism), but RME generally offers a lot more for less money, whilst being on a par in terms of quality and arguably better for support and software.

Once you use RME Totalmix, you'll never go back

[WiredIncorrectly]

Expensive is a relative term though right? Compared to what? If you're comparing it with a Scarlett, it's still not expensive because you're not comparing apples with apples.

A used RME UC is around £500, and will still be rock solid in a decade. RME will still be supporting it and updating software for it in a decade, and it's 'all you'll ever need'. If you do get to the point where you need more, it'll be because you're at a point where another grand on more interface won't matter.

There are plenty of RME equivalents (Apogee, Lynx, Prism), but RME generally offers a lot more for less money, whilst being on a par in terms of quality and arguably better for support and software.

Once you use RME Totalmix, you'll never go back

True about price being relative. I've had 4 soundcards in 10 years, which easily cost me over the price of a used RME UC

I've been watching some video reviews on the RME products and I think I'm satisfied I'll go with one of these. I could stretch to a used RME UC but will mean a bit more saving. There's some on the bay atm.

Thanks for the help Joe. Rock solid as always.

[WiredIncorrectly]

Hi Hat, Snare and Tom rolls are amazingly simple with this tracker. Even simpler than on Renoise. You simply place your hi-hat on a line, then on the fx column next to it use the "roll" fx command. You can have each beat of a bar have a different type of roll and the patterns are better than what I could do in a DAW Skippy syncopated Trap

[WiredIncorrectly]

Old school tracker.

[ankietyjoe]

To be honest I never really got into trackers as my 'classical' music lessons always pushed me more towards the linear stuff like Cubase. It wasn't until later on that I really understood why something like Ableton Live was so powerful in terms of getting ideas down fast. I did have an Amiga back in the day though, and the demo stuff on there was always really impressive. I think I had a bloody DX7 around the same time so it was a whole new world lol.

[WiredIncorrectly]

To be honest I never really got into trackers as my 'classical' music lessons always pushed me more towards the linear stuff like Cubase. It wasn't until later on that I really understood why something like Ableton Live was so powerful in terms of getting ideas down fast. I did have an Amiga back in the day though, and the demo stuff on there was always really impressive. I think I had a bloody DX7 around the same time so it was a whole new world lol.

Wait you had a DX7?! That's one of my all time fav. synths. I've only ever had the software version. Did you have Cubase on the Amiga? I had it on the Atari. Jahem (remember Just in Case?) inspired me to use an Atari and an Akai sampler. I ditched my PC back then for an old school workflow because I couldn't afford a drum machine. I loved it. I like working within limitations and then breaking out of the conventions.

And your reasons for uses standard DAWS are the same as mine (Except I started with Logic 4 on mac). Ableton was a game changer. Ableton's clip view comes from trackers, that's how you build songs in a track. Most trackers are limited in channels. The old ones definitely were, but you can have multiple instruments on one channel (and still add effects/EQ to the instruments separately), which is how those DnB tracks are done. Multiple instruments on one channel causes them to choke which is why flipping breaks for DnB is quite easy.

I didn't like trackers at first. I forced myself to use Milky Tracker because I wanted to learn how to do those lush chords you get from the older soundchips which often times only had a couple of oscillators. After I got onto Renoise and learned it properly I was hooked. As you know Renoise is a production grade DAW, and supports VSTs + lots of other stuff other trackers dont. Renoise walks all over my hardware box, but the hardware box can be taken away from the PC ... which is what I ultimately wanted. If I could have afforded an SP1200, or an MPC 3K, I may have gone with one of them, but I'm glad I didn't/couldn't.

Granular synthesis comes into play with trackers too. You create instruments out of minute "granular" samples.

It's a fun time if you like working outside the comfort zone for creativity. Oh, and feeding the model samples directly into the box is f**king dope.

One huge problem for me with Ableton is it's dependence on Max for creativity (probably not a problem for you or most others). Yet, they're the only DAW to allow you to put MIDI plugins in your chain because of that dependence. JUCE can't even do plugins that offer that functionality because VST/AU don't support it. And, if you notice these days there's so many VST's that sound the same ... because they're using the default oscillators, filters and algorithms from JUCE to quickly flip plugins. Serum and Deadmau5 started that trend. Good business model. Plugin Boutique was recently sold to Beatport, most of the plugins on there are JUCE based.