I have the Vcf2 and like it very much. it can transform sound in so many ways. I got the Tiny because I found one on reverb for a good price. the big Little Deformer is amazing but more expensive. the Tiny is the same engine at a more accessible price point. enjoy!
Hi, thanks for the video. I was wondering how difficult it is to get the more clean/bright/less chaotic sounds/processing that was towards the beginning of your video? Most of what I hear in demos is too raw/agitating to me but I am still considering a LD/LD3 mainly for sampling. Do you miss much the additional audio in/outs available on the full size version? All the best!
Hi M! Thanks for your interest. It's very easy to keep things clean and bright - just don't turn on the effects. Of the 3 examples at the beginning of this video, all of which are other videos I've uploaded, the first has lots of processing, the second has very little - just looping an extremely short section of a sample of a bird, and varying the start point with an LFO - and the third has no processing, it just uses the "chopkey" function on the TLD where you can very easily slice a sample into up to 64 slices and then map them across a keyboard and trigger them manually or with an arpeggiator or sequencer. I'm using a keyboard with an arpeggiator (the Novation UltraNova) to easily play various sequences of sample slices. That's how I made that entire piece, "Smithereen." As for the audio ins and outs, 2 of each is enough for me. I don't process multiple sources simultaneously. This unlisted earlier version of "to be transformed" ua-cam.com/video/6HRXySNgxSY/v-deo.html more clearly shows the range from unprocessed to processed sounds you can achieve on the TLD or LD3: I'm morphing gradually from unprocessed percussion sounds to very processed ones, and back again. You always get to decide how clean or dirty you want to get with the TLD.
@@esotericmusicmachines8136 Hello, also from NYC and thank you kindly for your reply and for pointing me to your other video which is the best example I have heard of the LD on the clean side. If I may ask a couple other questions, if you don't mind. Do you feel like if you didn't want to make more raw sounding samples that the cost of the LD would be a bit of a loss, or do the FXs make up for it? The reverb (?) sounds really nice and spacious in that demo. I'm just a bit split between getting this or an MPC One (used) + Flame Maander and using its filterbank to process external audio. I already have a Evolver which can filter things with a bit of rawness. Anyway, I am not much of a UA-cam user but found your page via Muffwiggler and subscribed. Thanks for taking the time to make these demos!
@@mtutek601 You're welcome. I would really like and value the TLD even if I never used the effects at all. The ease with which you can have 16 note sequences of all different lengths and speeds, and 32 control sequences of all different lengths and speeds, and morph the sequences as well as the sound engines, lets me do things I'm interested in, and create lots of unexpected surprises. Please note that although sometimes I forget to say so, all my videos have some post-production compression and reverb added in my DAW (Softube Drawmer S73 and VariVerb Pro respectively). So that's not the TLD you're hearing in that nice clean reverb. But I also do like many of the FX. And I like putting clean sounds at one end of the morph knob and very processed sounds at the other, and then slowly exploring the spaces in between. It's all about your goals. Also please note that I never program MIDI sequences - I literally just randomize the notes, gate times, velocities, and note positions. And then on top of that I use the wonderful Probability feature to reduce the chances that any given note will actually play. The net result of this is that I get sequences that don't seem to repeat, or repeat with variations. I like that; many people would probably have different musical goals and might prefer some other machine. I can't address the MPC One or the Flame Maander because I haven't used those. I do have Maschine, and for my purposes, I find the TLD vastly more spontaneous, interesting, and satisfying. You might want to consider doing FX processing on your computer (if you edit and finalize things in a DAW). Melda Production offers a huge basic package for free, and the license for extended features is very reasonable. For example if your original recording has reverb on it, and you edit it, you'll be cutting off the reverb tails, which will probably sound weird. But if you add the reverb in your DAW, after you do the editing, that problem doesn't occur. If you're looking to build a setup to perform live, then very different considerations come up. Anyway! Hope this helps. Good luck.
Nice! I always love to see Gotharman love on UA-cam! :D
thanks so much! excited to see more vids of yours
Thanks very much. More coming soon.
Nice one
hello:) what filter board do you have on it and how do you like it? also why the Tiny and not the regular...!? thnx
I have the Vcf2 and like it very much. it can transform sound in so many ways. I got the Tiny because I found one on reverb for a good price. the big Little Deformer is amazing but more expensive. the Tiny is the same engine at a more accessible price point. enjoy!
More vids with the tiny ld please
Coming soon! Thanks for your interest.
Hi, thanks for the video. I was wondering how difficult it is to get the more clean/bright/less chaotic sounds/processing that was towards the beginning of your video? Most of what I hear in demos is too raw/agitating to me but I am still considering a LD/LD3 mainly for sampling. Do you miss much the additional audio in/outs available on the full size version? All the best!
Hi M! Thanks for your interest. It's very easy to keep things clean and bright - just don't turn on the effects. Of the 3 examples at the beginning of this video, all of which are other videos I've uploaded, the first has lots of processing, the second has very little - just looping an extremely short section of a sample of a bird, and varying the start point with an LFO - and the third has no processing, it just uses the "chopkey" function on the TLD where you can very easily slice a sample into up to 64 slices and then map them across a keyboard and trigger them manually or with an arpeggiator or sequencer. I'm using a keyboard with an arpeggiator (the Novation UltraNova) to easily play various sequences of sample slices. That's how I made that entire piece, "Smithereen."
As for the audio ins and outs, 2 of each is enough for me. I don't process multiple sources simultaneously.
This unlisted earlier version of "to be transformed" ua-cam.com/video/6HRXySNgxSY/v-deo.html more clearly shows the range from unprocessed to processed sounds you can achieve on the TLD or LD3: I'm morphing gradually from unprocessed percussion sounds to very processed ones, and back again. You always get to decide how clean or dirty you want to get with the TLD.
@@esotericmusicmachines8136 Hello, also from NYC and thank you kindly for your reply and for pointing me to your other video which is the best example I have heard of the LD on the clean side. If I may ask a couple other questions, if you don't mind. Do you feel like if you didn't want to make more raw sounding samples that the cost of the LD would be a bit of a loss, or do the FXs make up for it? The reverb (?) sounds really nice and spacious in that demo. I'm just a bit split between getting this or an MPC One (used) + Flame Maander and using its filterbank to process external audio. I already have a Evolver which can filter things with a bit of rawness. Anyway, I am not much of a UA-cam user but found your page via Muffwiggler and subscribed. Thanks for taking the time to make these demos!
@@mtutek601 You're welcome. I would really like and value the TLD even if I never used the effects at all. The ease with which you can have 16 note sequences of all different lengths and speeds, and 32 control sequences of all different lengths and speeds, and morph the sequences as well as the sound engines, lets me do things I'm interested in, and create lots of unexpected surprises. Please note that although sometimes I forget to say so, all my videos have some post-production compression and reverb added in my DAW (Softube Drawmer S73 and VariVerb Pro respectively). So that's not the TLD you're hearing in that nice clean reverb.
But I also do like many of the FX. And I like putting clean sounds at one end of the morph knob and very processed sounds at the other, and then slowly exploring the spaces in between.
It's all about your goals. Also please note that I never program MIDI sequences - I literally just randomize the notes, gate times, velocities, and note positions. And then on top of that I use the wonderful Probability feature to reduce the chances that any given note will actually play. The net result of this is that I get sequences that don't seem to repeat, or repeat with variations. I like that; many people would probably have different musical goals and might prefer some other machine.
I can't address the MPC One or the Flame Maander because I haven't used those. I do have Maschine, and for my purposes, I find the TLD vastly more spontaneous, interesting, and satisfying.
You might want to consider doing FX processing on your computer (if you edit and finalize things in a DAW). Melda Production offers a huge basic package for free, and the license for extended features is very reasonable. For example if your original recording has reverb on it, and you edit it, you'll be cutting off the reverb tails, which will probably sound weird. But if you add the reverb in your DAW, after you do the editing, that problem doesn't occur.
If you're looking to build a setup to perform live, then very different considerations come up. Anyway! Hope this helps. Good luck.