Especially loved the combination of people on that episode - and really interesting chat. Who needs new gear to review anyway? ;) Great watching as ever - thanks Nick and team 👌
Great call on fractals in unexpected places Jamie 👍 Also, shout out to Mr Wiggly's channel, some great stuff there that's kept me entertained and engaged in the last few weeks 👌
Seriously Nick, you need to test a Korg Trident. Its quite limited, but when it comes to shimmering (SSM 2044), breathtakingly beautiful, blipping/moving (CV/trig inputs), beating (stretched tuning) sounds it has no competition. Not then (I bought the first imported to sweden), not now. Mean people called it "the worlds biggest string machine" and its sort of true. Its a gargantuan sounding simple polysynth/paraphonic brass (rather blipp) synth/stringmachine. With the worlds best ever flanger. Pan the parts in the stereo field.
I saw Jamie on that Warp tour with Pablo Fiasco doing the visuals. I saw the Liverpool Philharmonic gig. it was a very good powerful & wild performance by JL. And pablos live video mixing was great.
I love hearing about people exploring hardware to make electronic music. guys like Blawan, his side project Karenn - they're great and do lots of live stuff. But yes at some point, it's nice to tame those modular beasts and make proper sequenced tracks in the DAW. the exciting new stuff is somewhere in between those realms.
You should dig in to the high res audio topic. It's very interesting. Jamie has a very good point I haven't thought about as a reason for 192 recording about the quality when slowing down the recording. Of course also interesting is IF high res is actually worth anything in when it comes to pure listening quality since we can't hear that range. Some people say they can hear the difference. Some claim it's not possible. Also very interesting is to follow how the audiophile listeners see this topic. Plenty of fun stuff there to keep track of. So much about this topic that needs to be discussed more. Would be very interesting to hear more from Jamie about his production plans with the Sanken and his thoughts about high res listening etc.
Jamie Lidell talking about 32 bit float recordings in an alien mic while being barely understandable trough a shity mic in a highly compressed stream. Sorry guys but I just think this is kind of hilarious.
Ableton Live can record in 32bit. I have been recording and the results are great..Big fat sound. The mastering will bring it down to 24 bit in the end but it is amazing quality. Check out Base Mosquito - Tonight (Single) it was a 32 bit quality file...that you will really appreciate it in Tidal or Deezer Hi/fidelity subscriptions.
Values such as 44.1, 88.2 Etc and then also separate converters that work at values of 48k, 96k Etc. Many people have stated that this mathematical dichotomy needs to be solved by separate sets of converters. It sounds a lot like how converting a Final Mix that is done at 96k, down to 44.1 and Zep sounding weird because the math doesn't work out. But if you would done the project at 88.2 and then mixdown to 44.1 you would have no change in sound.
Beardyman was best before he started doing his Beardytron thing. Every video I've seen, the audience loves it when he's first doing his old school looping; then he gets behind his rig and it's like this barrier that kills the vibe; the audience engagement is gone and it's more like a masturbatory thing; flexing the techiness. Maybe newbs that want to get to that level are awed by it but most of the audience doesn't care how proficient you are with a rig. The magic was the engagement with the audience, comedic aspect and going off tangent. Beardytron is just 'look what I can do'. The old stuff is great though
Near the end there, it sounded like a lot of sort of excuses about why we should believe in extremely high sample rates. Have none of you done the reading about what Dan Lavery said or what George massenburg said, about various people have said, about how going up to 192 actually introduces intermodulation in lower frequencies about how it's so far beyond the Nyquist factor of hearing in human beings. When are the most common problem is that digital audio converters are designed to work at a certain range of sample rates. So you can have a converter that works very very well at 44.1 and another one that works very very well at 96k and those mathematics do not easily workout. And that math not working out is where most of the problems exist.
@matthsmatthsmatths I see you have some interesting controllers there :-) Q: What are they and what gets used for what if may ask. Actually that’s a sound idea for a Sonicstate subject I believe the fans would appreciate immensely. @Nick_Batt ? What are the usual suspects favourite studio midi controllers and why, (uses/workflow). Sharing this accumulated empirical knowledge would be SUPER valuable methinks.
Hey! So I have the MIDI Fighter twister which is lightweight and has many endless rotary dials that are also push buttons. Supper quick to use and setup. Colour coded too. I just use this for assigning things in the DAW to it so I have a tactile control system. Such as filter cutoffs and delays.
@@matthsmatthsmatths right, that one yeah 👍 thanks. That other rectangular thingy on your desktop with buttons.. Modular gadget I reckon 😅 BTW, I like your get-on-with-it approach to making music. Brutally productive!
Especially loved the combination of people on that episode - and really interesting chat. Who needs new gear to review anyway? ;) Great watching as ever - thanks Nick and team 👌
Nice one !
Notes:
0:00:00 - Introductions / Live Loop talk
0:09:52 - Dom teases Crossfade Loop Synth
0:13:25 - Production Techniques in Songwriting
0:24:09 - Sponsor / Promo Code
0:26:08 - Korg Trident / Love for Vintage Flagship Synths
0:36:37 - Sponsor
0:37:19 - Eclipsed Sound : Dreamtonics
0:51:40 - How Japanese Technology Shaped Dance Music
1:02:15 - Recent Tech Discoveries from Guests
1:12:36 - Goodbyes
I think this was one of my favourite episodes so far. Keep up the good work guys!!
Great call on fractals in unexpected places Jamie 👍
Also, shout out to Mr Wiggly's channel, some great stuff there that's kept me entertained and engaged in the last few weeks 👌
Thanks for having me again and I got the title of the episode! Whoop! 🕺
Seriously Nick, you need to test a Korg Trident. Its quite limited, but when it comes to shimmering (SSM 2044), breathtakingly beautiful, blipping/moving (CV/trig inputs), beating (stretched tuning) sounds it has no competition. Not then (I bought the first imported to sweden), not now. Mean people called it "the worlds biggest string machine" and its sort of true. Its a gargantuan sounding simple polysynth/paraphonic brass (rather blipp) synth/stringmachine. With the worlds best ever flanger. Pan the parts in the stereo field.
I saw Jamie on that Warp tour with Pablo Fiasco doing the visuals. I saw the Liverpool Philharmonic gig. it was a very good powerful & wild performance by JL. And pablos live video mixing was great.
Would love to have been there!
While I hardly understood a lot of this technical chat, it was great fun! Cheers!
Cheers Martin!
I love hearing about people exploring hardware to make electronic music. guys like Blawan, his side project Karenn - they're great and do lots of live stuff. But yes at some point, it's nice to tame those modular beasts and make proper sequenced tracks in the DAW. the exciting new stuff is somewhere in between those realms.
You should dig in to the high res audio topic. It's very interesting.
Jamie has a very good point I haven't thought about as a reason for 192 recording about the quality when slowing down the recording.
Of course also interesting is IF high res is actually worth anything in when it comes to pure listening quality since we can't hear that range. Some people say they can hear the difference. Some claim it's not possible.
Also very interesting is to follow how the audiophile listeners see this topic. Plenty of fun stuff there to keep track of.
So much about this topic that needs to be discussed more.
Would be very interesting to hear more from Jamie about his production plans with the Sanken and his thoughts about high res listening etc.
Japanese technology has shaped everything including dance music.
Jamie Lidell talking about 32 bit float recordings in an alien mic while being barely understandable trough a shity mic in a highly compressed stream. Sorry guys but I just think this is kind of hilarious.
Well he kindly joined us while away from his studio.
Sure. What an amazing guy!
Great to see someone like Lidell not follicularly challenged.
Time for a new sonic talk theme tune competition?
We need an Elizabeth Fraser vocaloid
Ableton Live can record in 32bit.
I have been recording and the results are great..Big fat sound.
The mastering will bring it down to 24 bit in the end but it is amazing quality.
Check out Base Mosquito - Tonight (Single) it was a 32 bit quality file...that you will really appreciate it in Tidal or Deezer Hi/fidelity subscriptions.
Values such as 44.1, 88.2 Etc and then also separate converters that work at values of 48k, 96k Etc. Many people have stated that this mathematical dichotomy needs to be solved by separate sets of converters. It sounds a lot like how converting a Final Mix that is done at 96k, down to 44.1 and Zep sounding weird because the math doesn't work out. But if you would done the project at 88.2 and then mixdown to 44.1 you would have no change in sound.
i love brutal techno
Ah men brother :-)
Beardyman was best before he started doing his Beardytron thing. Every video I've seen, the audience loves it when he's first doing his old school looping; then he gets behind his rig and it's like this barrier that kills the vibe; the audience engagement is gone and it's more like a masturbatory thing; flexing the techiness. Maybe newbs that want to get to that level are awed by it but most of the audience doesn't care how proficient you are with a rig. The magic was the engagement with the audience, comedic aspect and going off tangent. Beardytron is just 'look what I can do'. The old stuff is great though
Asha Bhosle is still alive.She's 87 and on Instagram
Near the end there, it sounded like a lot of sort of excuses about why we should believe in extremely high sample rates. Have none of you done the reading about what Dan Lavery said or what George massenburg said, about various people have said, about how going up to 192 actually introduces intermodulation in lower frequencies about how it's so far beyond the Nyquist factor of hearing in human beings. When are the most common problem is that digital audio converters are designed to work at a certain range of sample rates. So you can have a converter that works very very well at 44.1 and another one that works very very well at 96k and those mathematics do not easily workout. And that math not working out is where most of the problems exist.
55:48 who is farting ?
'
I love the way this comment comes straight after the one from ' Banter Space' !
Over produced talking out the nose it all. I prefer the underproduced vibe of the stones basement tapes
@matthsmatthsmatths I see you have some interesting controllers there :-)
Q: What are they and what gets used for what if may ask.
Actually that’s a sound idea for a Sonicstate subject I believe the fans would appreciate immensely. @Nick_Batt ?
What are the usual suspects favourite studio midi controllers and why, (uses/workflow). Sharing this accumulated empirical knowledge would be SUPER valuable methinks.
Hey! So I have the MIDI Fighter twister which is lightweight and has many endless rotary dials that are also push buttons. Supper quick to use and setup. Colour coded too. I just use this for assigning things in the DAW to it so I have a tactile control system. Such as filter cutoffs and delays.
@@matthsmatthsmatths right, that one yeah 👍 thanks. That other rectangular thingy on your desktop with buttons.. Modular gadget I reckon 😅
BTW, I like your get-on-with-it approach to making music. Brutally productive!
I got a MIDI Fighter Twister last month and can't believe I've gone so long with out one. It's brilliant!
@@jm6734 The other one is a camera switcher for my live streaming :-)
@@jm6734 Also thanks regarding the production ethics. Doesn't work for all but certainly does me! :-)
LOL Everyone seems to have lost all the hair...
Morphagene records at 32bit float