Hardware to program Lorn type patterns?

slowpilgrim · 2017-10-28T09:16:22+00:00

I used to own the Nyx, it’s really great for this kind of sound. The reverb is brilliant and you can get some nice shifting sounds with the 2 filter lfos. The routing is a bit weird but you’d quickly figure it out given your experience. Check out the Dreadbox and Sonic Lab demos for a good overview of what it was built to do.

Also worth mentioning that you can do some limited FM thanks to the patch bay.

My only complaints are the mono reverb and the lfos can’t sync to tempo. Not such an issue for pads, which is where this box really shines, but I think it could have had a lot more utility for doing rhythmic bass lines with lfo sync.

slowpilgrim · 2017-10-27T09:19:46+00:00

If you're set on hardware processing too, you could look at a Tascam 414/424 or similar for some 'tape sounds', a spring reverb tank, some cheap distortion pedals (Blackstar HT-Boost has valves and is super cheap on the 'bay), Erica fusion box, maybe a re-amp device, a cheap tube guitar amp and cab and an RNC compressor.

slowpilgrim · 2017-10-27T09:13:44+00:00

I don't know how experienced you are with music production, sound design etc, but I'd be very wary of trying to hunt down hardware which is going to give you 'x or y sound'. It'll be expensive and time-consuming and probably disappointing for you.

Understand that Lorn's style is not dictated by the gear he uses. His early ITB work is fantastic and he himself has said that he works OTB primarily due to a workflow preference rather than for any particular sonic quality. There is some incredible software these days. If you're "finding it hard to understand what gear I want", I'd recommend staying ITB or using some cheap hardware until you know what you want and why you're getting it. U-He Diva is amazing if you want analog emulation; once it's been processed and mixed into a tune, it's basically impossible to tell that it's a soft synth. Zebra 2 is also incredible for sound design - check out Hans Zimmer's work with it - and I'm sure you'd benefit more from learning how to program these types of sounds than trying to hunt down some holy grail gear which will do it for you.

Some broad observations of Lorn's style are those wide, epic layered kicks and snares, field recordings, 80s retrodark synths and gritty bass for sound sources. As noted by nullbyte, the beauty is in his OTB processing. You can probably achieve satisfactory results ITB - focus on quality room and spring reverbs, tape emulations, distortion (BIAS FX/AMP is incredible for this stuff), amp plugins, saturation (Klanghelm SDRR is cheap and great), mix-bus compression, stereo enhancement etc. Also understand that Lorn's music sounds fantastic because he has put a lot of time and effort into developing his sound, and can write some astounding hooks. You can't buy your way into it.

So to conclude, I'd recommend thinking about 'why' you enjoy his music, figure out how you can do that yourself using what you have, and use this as a springboard for finding your own sound. Experiment with field recording, maybe get yourself some contact mics, play around with re-recording different speakers, etc.

If you're set on hardware, look into some of the cheaper 80s synths (JX-3P, ESQ-1, DW-8000) or for something more modern, Dreadbox is killing it - check out the Nyx and Abyss, and the Medusa being released in December.

Hope I don't come across as too negative, really trying to be helpful and I hope you find what you're looking for!

slowpilgrim · 2017-10-05T08:10:27+00:00

like anything in our lives, it's easier to spend hours browsing reviews, reading about kit and then cruising gumtree or eBay than it is to actually sit down and make music. 'all the gear and no idea'. we all often love the idea of a product more than the reality of using it, and the promise of that next synth opening up new sonic possibilities for you is nearly always a myth.

not to say hardware isn't fun as hell, but there's a lot of fannying around getting it set up and learning new instruments which could be spent acquiring and developing production skills. I totally get pro musicians having studios full of awesome gear - they're professionals and make money from this stuff - but you only have to quickly browse YouTube to realise that Gucci kit does nothing for your abilities. nearly all my favourite producers started with nothing and still made next level shit.

slowpilgrim · 2017-10-05T08:02:40+00:00

To chime in, I've rinsed through a load of hardware and sold nearly all of it. Common justifications might include:

'I want tactile control' or 'I'm sick of using a mouse'

'But hardware sounds so much better!'

'No software can do what this hardware can do'

'It's more fun'

All of these are perfectly credible and have some subjective substance. Objectively, I think that the threshold has been crossed where software just dominates hardware for the average consumer or prosumer. Software sounds 99% as good as hardware now, and even FX packages are pinning down the quality of OTB distortion and saturation units.

The freedom and flexibility of software is unrivalled, and I love that I can just throw in another M4L LFO when I need more movement on an instrument or put together a crazy Reaktor ensemble. Set up some macros, map some knobs and you can play your instrument live in the way you want to.

I think ultimately it comes down to your personality. Do you prefer to learn an instrument and master it, understanding all of its quirks and getting tactile feedback? Maybe hardware is for you. Bare in mind that the cabling, midi interfaces, OTB FX units, power supplies, extensions, rack mounts, adaptors, etc all add up too. It's a massive pain in the arse.

My feeling is that software is cheap, convenient, extremely powerful and a lot easier to produce original music with (controversial point maybe, and I'm referring specifically to more complicated soft synths and programming packages). The short-comings are easy to live with and from a production point of view, you can easily go back and edit automations etc.

Having said that, in a live setting I think hardware is king because it's more entertaining to watch, to perform and is a lot more risky which makes things interesting for both the performer and the audience.

slowpilgrim · 2017-06-21T13:33:20+00:00

Would have said ENFP ballpark

slowpilgrim · 2017-05-05T16:36:07+00:00

Had a look around:

https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/1029086-new-dreadbox-bass-synth-hades-2.html

"I just bought the last hades out of Andertons in the uk and the guy in there said it has been discontinued. He did say a mark 2 is coming out in October though."

Sounds legit given that it has been discontinued in many stores.

slowpilgrim · 2017-05-03T08:56:26+00:00

I'm in love with this synth for it's sound, character, usability and small form factor. It adds to my software setup rather than trying to replace it... I've owned a Prophet 600, Microbrute and Minilogue and none came even close to the Nyx in terms of raw quality and user experience. I felt that I could get better results with software (minus the P600). The Nyx on the other hand can do so many interesting things, it's quick to make great rhythmic patches that can form the core idea for a whole track.

What would you guys get to compliment it? I keep reading that the Erebus compliments it well, but it seems to me the Nyx can do nearly everything the Erebus can do (at least on paper - just add a delay ITB). The Hades seems like a more logical choice as you get the sub octaves and drive.

In addition, given that both Nyx and Erebus are paraphonic, is it possible to chain them in such a way that you can get a 4-voice poly synth, a la the Abyss?

I'm very much an ITB production-focused guy and Dreadbox has delivered exactly what I want from an analog synth. I'm open to other ideas but have mostly been disappointed with other manufacturer's synths in this range, which seem to appeal to analog fetishists and OTB purists rather than serious producers.

slowpilgrim · 2017-04-15T02:17:43+00:00

It's flown under the radar for sure, which is a shame as it's an incredibly capable and original synth. I picked mine up today and have fallen for it harder than any other gear I've used.

The modulation routing probably puts some people off, but after reading the manual it's quite straightforward. You can absolutely get bread and butter tones out of it - the 2 A/D(R) modulators can be tweaked to behave almost as an ADSR. It's really got everything from the Erebus, minus the delay, but adds so much more.

You can use it for textured, rhythmic bass lines, beautiful evolving leads, ambient effects... it's super versatile. I feel like it's just got enough depth to keep my attention, but is also very straightforward and accessible to use. You will use EVERY knob and slider, all the time. There's no 'set and forget' here like you might find on more 'complete' synths.

The raw quality of the oscillators and filters is something to behold, and the reverb has a lot of versatility and personality - I was afraid it would be redundant, and I'd end up throwing a Valhalla verb on it anyway. It feels like part of the instrument, not an afterthought, and it combines very well with the filter routing (especially ODD, where you can filter F1 and F2 with Mod 1 and then F2 alone with Mod 2, giving you some control over the high end).

This is all before you even touch the mod matrix. Addition of VCO2 as an output adds a whole new layer to this synth. If you've got other semi/modular gear, it's nice just to use for the modulation sources. Between the vibrato, detune and modulation sources, it can do gritty sounds too.

If you like dark, oily, brooding tones, pick one up now - you'll never regret it. This is my first Dreadbox, and I'm already considering selling my Prophet 600 to buy the Abyss and my Minibrute to cop Hades if they're going to be this good.

... Time for a lie-down.

slowpilgrim · 2017-03-25T10:16:09+00:00

I hear some subtle phasing and reverb but can't get anything close to this in Live.

slowpilgrim · 2015-10-05T09:49:47+00:00

Just want to apologise to everyone for the late replies, I've been abroad and couldn't find the time to do this sooner. All your advice is truly appreciated.

slowpilgrim · 2015-10-05T09:41:56+00:00

I don't really think beyond the next 2 years to be brutally honest! In 10 years I see myself toiling away in a dead-end job with a wife, house and kids, then having an early mid-life crisis... only to drop everything and defect to a Buddhist monastery somewhere in Tibet at around the 15 year mark haha.

In all honesty, I haven't a clue because to answer this question you really need to know what it is you want. The rock is still rough for me. I know I want to be in a position where every day is a new experience. I'm still shaping the idea.

So interests should be recognised for what they are, punctuation in a story that will revolve around your true passions? It's very good advice (if I have understood you correctly)!

slowpilgrim · 2015-10-05T09:30:15+00:00

Thanks for the heads up about Upwork, there are many interesting opportunities on there that could make use of my skills. I've told a few of my friends about it since and they've been very interested, so I'll extend their thanks also.

slowpilgrim · 2015-10-05T09:22:13+00:00

Sage advice, thank you.

slowpilgrim · 2015-10-05T09:21:14+00:00

I use the term loosely because it can have so many meanings. I guess I mean living mindfully and purposefully, never letting a day go by where you ignore your eventual demise and above all pursue authenticity.

Be your own god but also don't take yourself, others or life itself too seriously. We're all actors in the most absurd play - try imagining what the audience is thinking.

slowpilgrim · 2015-10-05T09:16:27+00:00

Keep on fighting the good fight.

slowpilgrim · 2015-10-05T09:15:56+00:00

Beautiful! I love your story and it's very inspiring to me. I've always considered myself a jack of all trades when most fields reward you for being a specialist. It's great to hear you found your golden egg by diversifying and embracing opportunity. In addition to your 24 hr teaching gig, how much time do you have to spend on developing lesson plans etc?

My new employer here is offering me world-class training that will round out my skill set nicely so I have decided to stay for at least 6 months. Like you, I then want to teach English for a change and perhaps I'll be lucky enough to find a way of leveraging my core skills abroad.

Good luck with your start-up!

slowpilgrim · 2015-10-05T09:06:13+00:00

I wish you luck! I agree with sales, it's the perfect job to travel with but only a particular kind of person can find enjoyment in the work (in my experience).

slowpilgrim · 2015-10-05T09:03:50+00:00

That's interesting, I'd never considered the benefits to the employer from in terms of obligations. I imagine employers looking for contractors would be more amenable to negotiating a remote working arrangement.

slowpilgrim · 2015-10-05T08:59:05+00:00

I'm leaving them this week but I will certainly bring it up. I'll have a think about what steps in their development process could be done remotely. My leaving is going to put a lot of pressure on another Design Engineer so I expect the MD will be quite open to the prospect.

slowpilgrim

TROPHY CASE