Can you share some insights on how you made it?
The generative part sounds very intriguing.
Yep, the most important things to use are the Yxx on clicks (adjust between Y90 and Y97 for best results), and use Rxx next to the Yxx in the sequencer. LFO on panning and analog or digital high-pass filters to really trim the audio (cut out unnecessary frequencies). It’s not hard, just takes time.
The next most important thing to do is use ONLY Renoise’s sound generator, and only use/make very short samples with no looping for all the ticking sounds. So, make a new sample, say 10 samples long. Raise or lower 1 sample, maybe two, maybe 8? Design your own click sound to your liking. Filter to taste.
All of this, less the “mastering” was done in Renoise. No external effects, no VSTs or AUs. Since you can draw your own samples, it really makes for some great fun to make things as robotic-sounding and spacious as possible.
To get a relatively “instant” mastered sound, work with a scooped EQ on the Master channel. This is by no means a professional mastered sound, but will get rid of some of the rumbling in the low-mid range, and make room for the clicks to sound nice.
Listen to Ryoji Ikeda’s data.matrix here: https://www.youtube.com/watch?v=F5hhFMSAuf4
All of these sounds can be created in Renoise with nothing else. Renoise has the capability to make muted comb-filter Doofers with chords (they can be tuned), sine-sub basses, clicks, buzzes, all of it. The only thing you’ll need to do is A/B it with the album of your choosing for volume and EQ. Took me a while to figure it out. That and decide how long you really want to listen to each track.
If done right, you can use your first track (if you perfect it) as a template for an entire album.
What is really necessary is a good set of ears to get close to what you’re hearing, and Renoise pretty much takes care of the rest.
i understand your explanation very well, but perhaps could you create some example-template for the rest of the guys so they/we can grasp the idea from example (not requesting .xrn from this particular song, but rather some empty-alike demo example with simple beat, behind with your trickery?).
note: this is awesome and i never even thought in this direction.
thank you for this!
(just saw more videos from you on your vimeo channel, can you elaborate about your work - from start to finish - for some of your videos perhaps? i find them very interesting!)
I can do that - it’ll be later this AM - 4:30 here, everyone’s still asleep
ugh, here it’s 1:40, but nonetheless can’t wait to see the project
“Cpt Price: sleep tight”
Here’s what I would start with. EQ’ing and tidying up will be necessary, but it’s all here. I left out key things like reverb - usually the shortest reverb can get using the mpReverb at like 10% on click sounds. This style of
Microsound is a really “in your face” style. Not a lot of heavy reverb, unless it’s on very short sounds that you’ll only hear maybe a few times in the track.
Early Microsound.xrns (379.1 KB)
i like this, simple and easy to grasp. Can you give us a few more words regarding brown purple noise and stacked filters into the doofer, and your idea behind this?
Thanks for providing project file, again!
Sure! No problem - I picked a brown/purple noise because it’s less obnoxious than plain white noise. The stacked filters are able to be tuned and they provide chords. You’ll have to use your ears with those. Very similar to a typical pad sound.
i’m aware, but if you set first filter to 200hz, that means that other serial filters won’t be able to catch anything above that freq, so maybe there is better solution to create parallel fx chains within sampler, where each parallel chain could have bandpass (whatever type) and could be assigned to macros, so you can do the same, with more flexibility?
Thanks again, this seems interesting and not-hard-to-grasp for other users (me as well )
we should organize these short-kind of ‘workshops’ where simple material could be provided to grasp root concept, whereas you could express your creativity further!
Thanks again Neuro, it is a pure pleasure, and sorry if i bothered a lot
Glad to help - there’s other ways to combine the filters, I think with the Hydra? Or an FX Chain. This kind of music, most of it is really basic eq before the master, then gentle EQ in post. It can all be done in Renoise, but I like to work with it in Reaper when I’m done. Good luck and hope it will give you some new inspiration!
yeah, put processing aside (creative mix/master is another step from my point here). I meant just parallel chains like this:
Early Microsound filters instrument 03.xrns (751.9 KB)
to achieve more flexibility with the brown noise (instrument)
That’s what I meant - I lost the vocabulary to say that today. Yep! That’s exactly what I mean. I had made one of those, forgot where I stored it or how I did it. You got it!
Replace those with Comb Filters, which can be tuned to notes, and place an Analog Filter at the end to make it just a soft chord. Thanks for reminding me!
Thank you for your insight. It was most illuminating