Jam Session #7: easy listening House with Saturn 2 transformer crunch
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- Опубликовано: 5 окт 2024
- A raw easy listening house 123 BPM performance with no post processing showcasing Saturn 2's awesome gentle transformer (by Fabfilter). The performance also features Omega (an FM synthesizer by Bleass) and Koshiba (by iceGear/iceWorks). Shaper 2 (by K-Devices) is also consistently used, almost on everything. I also demonstrate using Volcano 3 (by Fabfilter). The session features my custom iPad Pro based music production setup including the Elektron Digitakt & Digitone showcasing a unique workflow based on AUM and the extensive use of an iPhone remote control based on Surface Builder.
If you're curious about hearing this session at a -10 LUFS loudness (instead of YT's enforced -14 LUFS) I made an edit which is downloadable as an MP3 (11MB) via my Dropbox at the link below:
www.dropbox.co...
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In this performance the following are also used:
AUM (Kymatica)
Xequence 2 (Seven Systems)
Surface Builder (4pockets)
Omega (Bleass)
Koshiba (iceWorks)
TAIP (Baby Audio)
Transit (Baby Audio)
WOV (K-Devices)
Shaper2 (K-Devices)
Fosfat (Klevgrand)
HAAZE 2 (Klevgrand)
FAC Chorus (Fred Anton Corvest)
DrumComputer (Sugar Bytes)
Ruismaker FM (Ruismaker)
Pro-R 2 (Fabfilter)
Pro-C 2 (Fabfilter)
Pro-Q 3 (Fabfilter)
Volcano 3 (Fabfilter)
Timeless 3 (Fabfilter)
![[Limbus Company - PV] Chapter.7 - Oblivion](http://i.ytimg.com/vi/VUpkXPkvoxU/mqdefault.jpg)
*CURIOUS ABOUT RUclips LOUDNESS CONTROL AFFECTING MUSIC CONTENT NEGATIVELY?*
If you're curious about hearing this session at a -10 LUFS loudness instead of YT's enforced -14 LUFS I made an edit which is downloadable as an MP3 (11MB) from my Dropbox through the link I've added in the video description. Enjoy! 😎
Nice tune again! Love the synth stab, great sound to it and nice chord progression. Quality
Thank you sir I really appreciate it! If you saw how tedious the recording process to generate these performances is it'd probably shock you! This quality really comes at a cost in terms of hardcore refinement through repetition. The first take I recorded for this session hit me with a massive "honey moon" phase and I was deluding myself into thinking about releasing it as is, especially because I really wasn't expecting that I would come up with this groove so quickly... I barely managed to fight the urge, and after a total of about 6 hours of recording I managed to generate this take the next morning.
When I compare this released version to the first take I did it's completely night and day in terms of complexity and overall appeal. It's becoming apparent (at least to me) through these jam session iterations that I'm becoming significantly more skilful and agile throughout this process. I'm constantly navigating this razor's edge of attempting something that's so hard to execute to the point where there's a risk of getting discouraged, yet I somehow end up finding a middle ground between difficulty and musical appeal, and I end up more skilled operating my music equipment as a byproduct. To be honest I don't really think developing that kind of skill was something that particularly interested me oddly enough, but as I discovered this whole workflow is a powerful way of injecting expressiveness in my music while remaining spontaneous and completely dodging the daunting DAW song arrangement workflow, I ended up acknowledging that this approach had some serious merit. The huge drawback of this is the level of difficulty/dedication/patience/perseverance it takes because the musical outcome is entirely dependent on the execution being on point and therefore it is never guaranteed despite significant time investment. I still DO have the elektron Song Mode though if I ever need to take a break from that lol! In the end though I'd like to think that if I was to get back to a PC based DAW workflow after that kind of hardcore training I feel like I'd probably be a lot more productive than before because I'm able to identify what to focus on much more clearly and without relying on the complexity guard rails inherent to dedicated music hardware setups.
I hope I can get to a point where the execution of a performance feels significantly easier so I can redirect more of my "mental bandwidth" on being adaptive and responsive to the flow of the groove, because the whole thing of "how many more takes is it going to take?" and at times getting to a point where I can't see the finish line can really be draining. Even though I can be very patient, I can only listen to the same thing for so long before hitting a point of saturation lol... It's that razor's edge thing again! Anyhow lol I wrote a novel here! I'm definitely pushing for quality as best I can and I'm glad you saw that Michael! Cheers!
Hey! Stopping by to check out one of the short jams. Very cool vibe and love the groove! Will check out some of your long form content. Appreciate you taking time to share your insights! Subbed! Keep jammin!
Thanks man! Cheers! 😀
Tes tracks sont vraiment groovy! Top mix as well!
Thanks chief!! Getting the groove right and balancing the energy of the mix tastefully is definitely something that I've put a lot of effort in over time. I'm able to achieve this relatively consistently because I fundamentally built a deep connection with the main tools involved in my music making pipeline, which implies that I heavily re-use the same key elements/tricks/sounds/ideas rather than starting from scratch every time.
The fine tuning of the complex side-chaining compression interconnections between instruments and the whole logic/engineering of the whole AUM Project and the key sound processors I use are kept in place pretty much permanently (as you probably observed!) with a few exceptions of course, like Reverb for example. I won't hesitate to reactively make modifications if it's needed for the scenario I'm in, but generally they tend to be minor/temporary unless I stumble upon a major upgrade... such as Saturn 2's gentle transformer LOL!
By using this approach I naturally refine my music making pipeline (and its mix engineering components) over time and I consistently reap the benefits of that energy investment without having to constantly expand the very significant amount of energy it would take to recreate something of similar quality if I was to do it from scratch.
Because I'm responsible of every aspect of the production, this approach in my view is 100% necessary, because time is very valuable and limited, and I can only listen to the same groove for so long before hitting a point of saturation, especially considering the millions of takes I have to go through to record these YT performance videos.
Heavily reusing my "assets" effectively allows me to redirect most of my energy (my mental bandwidth) on developing grooves as I don't have to constantly question the quality of the elements I use to make my music, and the quality (energy balance & timbre) of the sounds I'm getting right from the beginning also really helps to inspire me. If I was to consistently work with a PC based DAW workflow again, I would 100% use the same strategy, which effectively would be to make a very sophisticated template with predefined carefully selected tools, and I would refine the whole thing over time, in a spirit of carefully thought out minimalism. The End :D
@@Silent_Stillness That's a great reminder ... building a template. Not start from scratch all the time. (I do ...) ;P
@@mrtinacrispoti Most people do haha :D I mostly never did that back in the days when I was "working" with a DAW, even though I had thought about it. At the time I remember that I just didn't feel enough of a connection with software to justify doing that, but that had more to do with having less experience back then, and the fact that there were just too many tools and options available at the same time for me to be able to discern which ones were the instruments that really had some merit and were worth investing time in... Today things are quite different though... so much great software available, some of it even for free... stuff like Surge XT, Vital, Deelay.
When I became dedicated to my Digitakt & Digitone combo for about 5 years straight, I experienced first hand the value of discipline and preparation, so during that time, caring about "enabling" my Digitakt with enough sampled content and crafting/curating presets over time on the Digitone (mainly) became my version of having a "template", even in that super simple configuration. I learned the value of decoupling the preparation stage from the creative/composition stage. It's definitely tough to find the motivation to do that unless you actually develop an organic connection/appreciation for your instruments. When you do eventually make that connection though, being able to go through an entire session without fighting with your instruments is just priceless... and it creates a positive reinforcement loop that makes the whole exercise of starting a music session feel mostly friction-less.
On the iPad though I always build my new projects (jam sessions) on top of the state that my previous project was in, so in other words I never go back to a blank template file. Even if having to manually purge MIDI data off of my latest project to then save it as a new project takes some time, it ensures that my template is always "synced" with what I'm expecting to find in it based off of what I had been working on in my previous project. At the moment my AUM template is sitting at 230 nodes approximately. Even though statistically I only use about 50-70% of it at once, it completely eliminates having significant loading times in my sessions to route new things, and it ensures the complex integration I have between Xequence and AUM is already routed and ready to go. Cheers!