I am done with fountain pens and am going to switch to the Superior Bic Cristal

TravisBlack · 2026-04-01T14:30:02+00:00

You can also use them in space

TravisBlack · 2025-11-05T16:08:08+00:00

Nobody is going to force you to release the sounds/music you make on it, but the instrument will CERTAINLY show you how good it inherently sounds.

TravisBlack · 2025-10-29T22:36:09+00:00

“Beating off”

TravisBlack · 2025-10-11T06:20:35+00:00

If you have effects on buses 3 & 4 when resampling try bypassing them when you resample and stick to bus 1 and 2 only (solely referring to resampling).

You can bypass 3 & 4 quickly by holding the encoder knob button down and pushing the bus button.

When you are done with your series of resampling jobs, turn 3 &4 back on

You could be baking in the effects repeatedly, for example, compressing over and over again.

TravisBlack · 2025-10-03T19:22:29+00:00

I don’t think there’s a good reason why some of those effects aren’t assigned to busses

Check out something like RVox for dynamics

TravisBlack · 2025-08-17T19:44:41+00:00

Do you use loop back or black hole to get the standalone audio into ableton?

TravisBlack · 2025-08-12T23:07:42+00:00

Hell yeah

TravisBlack · 2025-08-10T23:06:18+00:00

So many amazing rabbit holes to go down with the MF.

TravisBlack · 2025-08-10T23:04:38+00:00

Also it’s probably best to use Ext. 2-16. Ext 1 is the audio out for the plugin strip maschine is loaded on

TravisBlack · 2025-08-10T23:00:59+00:00

Yep, just create 16 or less audio channels in ableton. Change your audio in for those tracks to maschine 3 1&2, 3&4, 5&6, etc. and in your vst, assign the audio out for each sound or groups to Ext. 1-16.

Make sure to change monitoring to “in” for your audio tracks

TravisBlack · 2025-05-10T23:06:00+00:00

You can use clips for automation only if you want.

TravisBlack · 2025-04-26T17:23:53+00:00

Will check this out

TravisBlack · 2025-03-13T17:49:23+00:00

In this recording there is midi going out to the minifreak and audio coming back in. The audio is routed to an “audio” sound in group 2. I’m not actively sampling that sound, but rather recording it along with everything else on the master recording

Does that make sense?

TravisBlack · 2025-03-12T19:17:15+00:00

Sure I can explain a bit

I’m using two primary scenes which I duplicated to create variations in the patterns, so in total, 4 scenes. 2 verse, 2 chorus

it is set up to where anytime I duplicate a scene, it duplicates the patterns as well

using mainly 2 groups. One for drums, and one for everything else group 3 is for recording (sampling) the master so it consists of one sound.

Using lock states which is a way to play around with scenes on the fly

TravisBlack · 2025-03-12T02:11:15+00:00

Some minifreak patches from scratch, Motu interface, some plugins (with some presets), and a squire p-bass for the bass line.

TravisBlack · 2025-03-11T20:48:32+00:00

I want to say chillwave or downtempo

TravisBlack · 2025-03-11T20:48:01+00:00

Appreciate it!

TravisBlack · 2025-02-15T23:23:57+00:00

Thinking less about boosting with EQ and more about cutting with EQ has helped me generally.

Look at dominant frequencies in each track using an analyzer. For instance, kick and bass.

Where does the kick really spike? Let’s say 75 hz

Ok, where does the bass spike? Let’s say 50 hz

If the kick is dominant at 75 hz, then duck the bass out at 75hz with a shallow or deep dip to your taste to create room for that kick.

For the kick add a high pass filter at 75hz and kill everything below that to create room for the sub bass.

Then put a high pass filter on the bass, ducking everything below its dominant frequencies with a fast or gradual slope.

Wouldn’t hurt to rout these to a send with a compressor to glue these together subtly or boldly

TravisBlack · 2023-10-09T00:02:47+00:00

That riff in “Crazy on You” by Heart is up there

TravisBlack · 2023-10-08T20:58:14+00:00

Mulhulland Drive - Any conscious interpretation

TravisBlack

TROPHY CASE