OpenMPT is a Geo Tracker, refurbished with a new engine and even an iPod dock and some fuzzy dice hanging on the rear-view mirror. It has the old seats and the smell of years gone by, but it still gets you to the mall to scour for chicks and get a milkshake, like you did when you were 16. Eventually the mechanic will want to put rims on it and you’ll accept with a big grin.
Hahaha. This gave me a funny image of when people tie a bunch of apps together in Audio Bus. A gang of googly-eyed glasses-wearing nerds on their scooters, backpacks full of figurines, soda and pretzels, buzzing through the suburbs to the game shop to play Warhammer 40k.
I’ve been very, very busy with many projects lately. I’d just like to chime in and say that I’m really looking forward to the new release, anticipating it. I still have a great number of songs-in-progress that use Renoise. I’m not sure what they are going to bring forward, but in the past there’s always been improvements of one sort or another. I privately hope for a few particular things, but come what may: any improvement is going to be welcome.
I guess having a holiday from here has made me less religious and dogmatic, realising that Renoise is one unique tool among many. My way from A to Z is very particular to my situation - how I use Renoise in that equation is different to the next person, just as much as that person’s process is different to the next person, and so on.
Im not here to defend Ableton team, but take a listen to Jimmy Edgar’s or Machinedrum stuff, their production sharp and punchy as fuck, so i don’t get what kinda of muddy sound problems u experience with Live. Also its not the DAW at all, its how u use it. Another great example is FL Studio, the mighty french Gesaffelstein uses it and the result is totally brilliant. Lets end this kinda talks pls.
I agree that “the sound” of an environment has as much to do with the workflow as the sound engine. Take the OP-1, the engine runs on 1990s-era computing power, but songs produced on it have a distinct sound because of its live playing/sound-on-sound workflow. That being said, granular timestretching is a central component of ableton (even though it’s optional), so that will explicitly contribute to the “sound” of ableton productions in a concrete, non-mythic way.
I just have to chime in here to express my opinion about this particular phrase. This is a meme that has spread across the net during the last 24 months, and today virtually everyone writes this way:
bla bla bla
That said, bla bla bla
Or:
bla bla bla,
That being said, bla bla bla
Especially at KVR this phenomenon in language is very apparent. But IMO, it’s quite annoying to read this phrase in almost every single post on the net today.
OK. Now the main reason why software such as Ableton Live or Propellerhead Reason are frequently bashed for their “sound quality”, has everything to do with the workflow’s contribution to the summing DSP signals. If you stack sound after sound on each other, and concentrate on getting the sum total to sound cool or whatever by a heavy range of modulations and automations - you’ll soon end up with a muddy sound.
Pretty sure it’s just you noticing it. I’ve been hearing and using it since high school. To my knowledge, it’s been around for a long time. Probably since before the internet.
I disagree. We should ban all of these too. The wait for Renoise 3 has become so tedious that maybe we could fill the time by randomly banning completely innocuous words and phrases and impose harsh punishments on anyone accidentally breaking the new language rules.
It’s been around for ages, yes, but my point is that more and more people subconsciously adopt that phrase in a memetic pattern. Another such meme is the use of a forward slash after the letter ‘w’, to mean “with”. People write things like: “I have no problem w/Renoise” (what do you save, like two letters?). Or take the spread of people who think they appear more laid back and cool if they write like this: “im not using any capital letters and im cool coz i dont follow no grammar rulez”.
