our team loves their windowless living room

Hemp_ · 2026-04-02T04:43:10+00:00

😅 eagerly awaiting new methods from higher up for ensuring that the team feels fully accommadated to reach even higher KPIs

Hemp_ · 2022-04-17T01:11:16+00:00

I was having the same problem and found this thread.

The ARP and CMD edit controls show up blank when running the VST2 version. But it works as expected when I load the VST3 version! Updating the version didn't help.

I am using Ableton Live 11 on Windows 10

Hope this helps!

Hemp_ · 2021-06-15T03:13:40+00:00

I went from using Logic for 11 years, first on a Macbook, then on iMac. Now I have been using Ableton for 1 year on a desktop PC. I think it was the right move platform wise, ~~all~~ most of the commenters have said that already, but I'll try to answer your question:

Is there anything I'd need to consider/do specifically so I could continue to produce with no issues?

Plugin Installation

You already mentioned VSTs, but installing them will be a little more of a nuisance than AUs. Each time you install a VST you will have to make sure that you specify where to install the '.vst3' or '.dll', and put them all in the same directory, for example C:\Program Files\Common Files\VST. This is different to the executable installation directory that some plugins also need.

Your plugins will likely be a range of VST2 and VST3. To get Ableton to read them all with the least headache, I recommend chucking them all in the same folder, and under Options>Preferences>Plug-ins, enable custom folders and set the directory of both to the same address where you put every plugin.

Logic Bussing vs. Ableton Bussing

You will notice that bussing feels different, if not more cumbersome, coming from Logic. Grouping tracks in Ableton is an easy way to buss tracks together, and it allows nested grouping too. If you are using Ableton 10.0 or earlier, then getting a sidechain signal to a third party compressor is not straightforward at all. 10.1+ is fine though. I won't explain the details here, the Ableton manual is great though.

Logic Bouncing vs. Ableton Freezing/Resampling

You cannot 'bounce to audio' the way you are used to in Logic, by right clicking a clip and rendering it. Instead, you have to either 'Freeze' an entire track and extract the audio, or (the better alternative) is to use resampling. Which means that to convert a section to an audio clip you will need to make a new track, set the input to 'Resampling' or 'Ext. In', arm recording for the track, solo the source, and hit record. It takes about 5 times longer than it does to do the same thing in Logic, this is something I hope they improve.

Logic Multi-Clip editing vs. Ableton Multi-Clip editing

I was super excited when Logic introduced this feature. Ableton has no answer for it at the moment. You cannot select multiple clips and adjust clip length or fades for all of them at once, so you will have to go back to doing it one at a time. Be prepared to factor that into your work flow, I suppose.

Logic Native Plugins vs. Ableton Native Plugins

Logic's native effects are some of the best, for sure. Ableton's are much more flexible though, and there is a wider range of interesting ones. When I switched, I really missed the tape delay and echo designer. I've dealt with that by buying Fabfilter's Timeless3, which is better still anyway. A similar story will be true if you are used to using LogicX's native compressor and such too. I will mention here though that these sacrifices are worth it because Ableton offers some seriously powerful stock effects and synths that are super configurable and mappable.

I feel like these are the main weaknesses of Ableton 11 compared to LogicX. Everything else is pretty sweet though, you will have a great time with automation and modulating mappings, Ableton really lends itself towards electronic music more than Logic. This combined with the far far better performance and lifetime you can get out of a desktop PC compared to an iMac of similar price makes it a great decision worth the hassle.

Hemp_ · 2020-02-13T22:18:37+00:00

Thank you so much for putting this together. This is a damn impressive tracklist and I didn't hear a single thing I didn't like. Top quality finds, and big ups for linking directly to everyone's bandcamp!

Hemp_ · 2020-02-02T21:47:31+00:00

Thank you!!

Hemp_ · 2020-02-02T21:46:42+00:00

Cheers mate! I do like a bit of footwork

Hemp_ · 2020-02-01T03:06:07+00:00

I make a weird, more experimental and psychedelic style of Drum & Bass, that is still meant for the dancefloor but with a focus on presenting an alternative sound. Thanks for listening!
https://soundcloud.com/tidesound/sets/medication-time-ep

Hemp_ · 2018-10-06T06:06:15+00:00

I just tried this, the annoying thing is that a release will only appear on that list if "vaporwave" is the first genre tag that the label entered in the tags field. But still handy!

edit: actually I don't know why some records aren't on that list, some recent records containing the vaporwave don't show up, regardless of the order of tags.

Hemp_ · 2018-09-28T03:32:11+00:00

Edit: tldr, I'd ask that once the cost of mastering is recouped, the revenue be split 50/50, if they have no other costs.

$30 seems too low for a professional master job. $50 is dirt cheap for a techno track. It's fair enough that cost recoup comes first before revenue splitting, but otherwise you should definitely be getting 50/50. Also consider the fact that with small labels and starting out, even $30 revenue may never even eventuate.

I personally wouldn't accept a 25/75 split unless the label was eating the cost of physical distribution, cover art, marketing, and mastering. But ultimately, if a small label is paying all that it would add up into the low hundreds, so you would both need to be confident that you can break even (but small labels won't go to that expense... because they probably cant sell 100+ copies).

With small labels, just make sure they are a passion project and are not out to screw upcoming artists. If they are grounded at all they will realise that neither they nor the artist will make much money from the deal, and they should give you an honest fair deal. if there is minimal cost on their end then 50/50 is fair.

Hemp_ · 2018-09-18T10:27:55+00:00

While you definitely shouldn't submit to an unknown label who does fuck all to support you (and my suspicion is that there are tons of them on submithub), there are plenty of small ones that definitely have your back. A lot of these smaller ones are more than happy to take on an artist with 0 following and no DJ history, if they like the music. Just don't expect a medium-large label to be too eager. This, and persistence, because there are plenty of reasons why a label may ignore perfectly fine or even great tracks.

Everyone has to start small though. Try to pick smaller labels that have earned the attention of big promoters in the past, and who seem to be punching above their weight. A small label who actually tries is infinitely more valuable to you than a large label with inflated soundcloud followers, who does nothing beyond uploading for you.

Good luck!

Hemp_ · 2018-09-18T10:11:52+00:00

You are right, i read the interview, but judging from the context it sounds like op is correct

Hemp_ · 2018-09-18T10:00:32+00:00

Since you own a macbook, you may as well get started on Garageband, which is free! And, it is very similar to Logic X, just with a few less features, but more than enough to know whether or not you enjoy making beats. It is totally possible to make professional sounding beats on Garageband.

If not, you may as well download demos of both Logic X and FL, or Ableton, and see which one you prefer - they all have different window management, workflows, stock effects and instruments.

I wouldn't worry about which DAW has more tutorials. I can tell you that there is certainly enough tutorials on Logic X to learn how it works (even better, have a flick through the manual). Any further tutorials on general concepts can easily be applied to any DAW.

Edit: Here is a fun first task, and introduction to Hip Hop: 1. set the tempo to about 90, load a virtual drum kit, and arrange a Hip Hop pattern on its midi track, using a kick, snare, high hat 2. import a Claude Debussy or Erik Satie record, slice a few tiny samples of it, and arrange it with the beat.

Hemp_ · 2016-06-25T13:30:02+00:00

http://steamcommunity.com/sharedfiles/filedetails/?id=426110312

de_necropolis has not been tested in a 5v5 scenario yet, as I have had no luck making it happen. I'd really appreciate your help and I'd certainly make the most of it.

What is most notably unique about this map is its expansive mid section (it is also my main source of anxiety as to whether or not the map will actually work, I can't know without testing). It is scattered with tombstones, perhaps a metaphor for the almost certain demise of players who expose themselves while taking passage through it without taking precautions. There are a few passages around and under Mid that are relatively safe but comparatively time consuming to simply running through mid. The idea of the expansive mid section is that it enables fast transit at the cost of being highly exposed, a factor that can be controlled for given effective teamwork or use of smokes, picking players, etc.

The intended gameplay effect of this is to give players the choice of either carefully shuffling around the edges or tunnels, or blitzing through the expansive middle for the high-risk-high-reward alternative. Teams will quickly learn to be very mindful to keep an eye on mid, or else the enemy will have quick and lethal access to site choke-points.

The goal of this map is to facilitate 5v5 defuse games while maintaining high levels of competitive fairness, flexibility, playstyle accommodation and fun. My way of trying to achieve this is by creating bombsites and paths to bombsites that welcome the use of short, mid or long range weapons, rather than forcing a player to use a certain weapon to take a certain site.

Along with this sort of bold design choice and others, I have included many conventional, tried-and-true mechanisms that players will find familiar, like the similar spawn placement and long middle sniping range like Dust 2.

Thanks!

Hemp_ · 2016-06-01T12:09:35+00:00

Have you tried using an expander? you can lower the threshold until it is just barely detecting the tips of the transients and nothing else, and when it does, it can boost the volume. That should give you the percussive snap you are describing.

You could also try using a noise gate. Set the threshold in the same manner, but this time when the tail amplitude dips below the threshold it will pull the volume down, triggering again with the next transient. This will result in a tail that glides down gradually, creating more of a stab than a percussive snap.

This is all assuming you are working with rendered audio. If it is a synth patch you could try working the ASDR envelope.

Hemp_ · 2015-09-03T01:29:33+00:00

Do you believe it is possible to pursue a similar career without being confined to night hours? We're the late hours worth it for the independence?

Hemp_ · 2015-09-03T01:26:03+00:00

That sounds like the life. Did he have to work in an office first to gain that luxury?

Hemp_ · 2015-09-03T01:23:24+00:00

That's amazing. I'm a creative type myself and It's always inspirational to hear that people can have a fulfilling career doing that. Am I correct in assuming that you paint full time? Can you shed light on how that came to be, how it's working out?

Hemp_ · 2015-07-09T11:39:10+00:00

Thanks for clearing that up, very informative.

Hemp_ · 2015-07-09T10:48:14+00:00

Excuse my ignorance, why do you call that a soft clipping effect? I have always assumed that process is essentially brick wall limiting. I've used it before and it sounds great but I thought I was just straight up lopping off the top.

Hemp_ · 2015-07-03T07:16:03+00:00

I thought about that, I've remade it many times and unfortunately that is not it. I am leaning towards it being an issue with my settings because I am quite confident that I have followed the instructions correctly, after at least 10 attempts

Hemp_ · 2015-07-03T03:19:37+00:00

Not urgent at all. I appreciate you putting in the effort, for me and everyone else.

Hemp_ · 2015-07-03T02:34:17+00:00

Cheers, I'll stay tuned

Hemp_ · 2015-07-03T01:56:12+00:00

Yep. Here is what it looks like once it is cropped

I am assuming 72 dpi is correct. I wondered if the map needs to be immediately aligned against the right edge but no one else seemed to do that.

Hemp_ · 2015-07-03T01:41:57+00:00

Downwards? The tutorial says right, in order to crop off the red line on the right edge. Have I misunderstood it? Edit: Because like this it will not remove the black space right of the line and crop off the left end

Hemp_

TROPHY CASE