unearthed test track from a few years ago
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@sean_ae dat hurdy gurdy section
️ & the stilted rhythms when they come back in, nice stuff there in particular.y'all touching on some m4l again or just came across the track?
@tsrono long story, but yeah kinda stumbled onto it looking for something else
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@sean_ae that snare that gets apparent around 5:44 is dead nice, sounds a bit familiar might have been in there in one of the recent lives as a diff version? it has like the perfect little transient
@sfn yeah it's similar to one of the snares in the set, tweaked a bit
all the module pattr stuff is available in Live now and i can load/save settings between Live and the rig
much better than it was trying to keep them as two separate things
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@Lime i just really didn't enjoy maintaining two different forks of the thing, so i just ported the global layer and slots basically
the patches it loads now are the same ones i use in Max (instead of shoehorned into m4l windows)
i could prob modify the patches to make the params available in Live but i never got round to doing that; and i kinda like it running the same way it does in Max, cos for the most part the patches only talk to each other now, but sync to Live's transport via the global layer
@sean_ae so you use Live to manage sets (global layer + slots) & transport? lmk if i'm mistaken but it's something i've been thinking about on previous iterations of my rigs and i find it clever lol
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae Sounds beautiful, thanks for sharing.
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@sean_ae so you use Live to manage sets (global layer + slots) & transport? lmk if i'm mistaken but it's something i've been thinking about on previous iterations of my rigs and i find it clever lol
@Lime yeah basically it's just a patch which is a port of the global patch from the rig, and 3 different patches for each of the slot types i use (seq, synth, fx), and the patches all communicate at global/slot level via send/rcv pairs
they p much ignore Live's sequencing, and have to really cos i don't use note on/off
i did make a couple more patches to convert from our protocol to midi and back but i barely use them cos it's a bit awkward (out from the seqs is fine but back from Live's seq is a bit weird cos the synth/fx patches expect durations, so i have to fix the durations, which, yeah not great)
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae that's groovy af. Sounds somehow pink and grey soundscape with the most rhythmic tire skids
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae put up some shelving listening to this. the hihat made me think i'm in a restaurant with cutlery hitting the plate nearby..
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae that reed modeling lead synth (if that’s what that is) is so great, recognize that from the 2022 - sets.
was navigating around tracks in Live trickier than in Max? I feel like one benefit of Max is that everything is in one view, curious if you were able to work around that when presumably different devices are spread around different tracks
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae loving this (esp 04:44)
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@Lime yeah basically it's just a patch which is a port of the global patch from the rig, and 3 different patches for each of the slot types i use (seq, synth, fx), and the patches all communicate at global/slot level via send/rcv pairs
they p much ignore Live's sequencing, and have to really cos i don't use note on/off
i did make a couple more patches to convert from our protocol to midi and back but i barely use them cos it's a bit awkward (out from the seqs is fine but back from Live's seq is a bit weird cos the synth/fx patches expect durations, so i have to fix the durations, which, yeah not great)
@sean_ae i see yeah, pretty cool architecture i think i might port something similar since i got a more usable project than before
might also prob help to route some stuff since i either use seq slots or trigger everything with tidalcycles/strudel through midi or osc
but yeah i guess my main concerns are to properly recall presets/sets & also to manage sound output to mix & record so i'll prob do that lol
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@sean_ae that reed modeling lead synth (if that’s what that is) is so great, recognize that from the 2022 - sets.
was navigating around tracks in Live trickier than in Max? I feel like one benefit of Max is that everything is in one view, curious if you were able to work around that when presumably different devices are spread around different tracks
@nnirror yeah it's way faster just working in Max - everything's right there, way lower CPU usage, no faffing between channels, and no overview so no losing the thread, can stay in the zone etc
but obvs in Live i can record to a timeline and do audio editing, which is something i'm prob never gonna add to the rig, so it's worth having but not ideal ykwim
i mean Max is a realtime environment, i know Live tries to be that but to me it's only realtime as far as clip triggering goes
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae this is sick!!! i picked up a book recently that talked about audio processing in matlab. i think you've said previously that you learned javascript to use in max, but have you tried any other things that go deeper into the programming side of things? had a bit of a resurgence recently seems to be getting quite popular online.
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@sean_ae loving this (esp 04:44)
@tylersouth___ ye olde PPG waveforms
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@sean_ae this is sick!!! i picked up a book recently that talked about audio processing in matlab. i think you've said previously that you learned javascript to use in max, but have you tried any other things that go deeper into the programming side of things? had a bit of a resurgence recently seems to be getting quite popular online.
@wirlwirlwind i've never used matlab for sound stuff but it sounds like it could be fun for sure
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@nnirror yeah it's way faster just working in Max - everything's right there, way lower CPU usage, no faffing between channels, and no overview so no losing the thread, can stay in the zone etc
but obvs in Live i can record to a timeline and do audio editing, which is something i'm prob never gonna add to the rig, so it's worth having but not ideal ykwim
i mean Max is a realtime environment, i know Live tries to be that but to me it's only realtime as far as clip triggering goes
@sean_ae fo sho, makes sense and easy to like, randomly drop in an effect device ontop of a chain while playing in live. definitely can see how both would have their benefits and worth exploring
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae love the way it floats away and then the beat comes back clanging on metal bars and wooden structures with that swelling pad underneath. the lead synth in the first half does sound similar to the "clarinet"-like bit in the 2024 live sets to me?
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae at least some peole still posting beautiful stuff
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@sean_ae love the way it floats away and then the beat comes back clanging on metal bars and wooden structures with that swelling pad underneath. the lead synth in the first half does sound similar to the "clarinet"-like bit in the 2024 live sets to me?
@zweikreise yeah it's the same pipe sound, almost same drums as well on that bit
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@sean_ae at least some peole still posting beautiful stuff
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unearthed test track from a few years ago
was trying a new (at the time) m4l port of our rig - a lot closer to the way the rig works in Max than the older port we used on SIGN/PLUS
(so a good chunk of it was culled from the bit of the set i was working on then)
@sean_ae I'm so used to the live version of this material that hearing this is really screwing with my head. Everything's totally recontextualized. I feel like I'm hearing noises from later in the megaset too.
What's going on with that ambient coil-esque drone in the middle? It's so pretty.... was that made for this track specifically?
Side note love when you guys work with swing.
