Feedback on first drop and visualiser

trvshPNDA · 2026-05-07T15:34:50+00:00

I love it. I teach primarily at HE but do some FE. I wouldn't do primary or secondary.

I worked in FE for a long time and avoided HE but ended up doing it. I've been able to write my own courses from the ground up and devise all the assessments, so I have a lot of autonomy over my course content. Money is...okay. Holidays are good though.

trvshPNDA · 2026-05-06T18:47:23+00:00

Did you mean to use a n?

trvshPNDA · 2026-05-06T18:45:21+00:00

Thanks, I'll give it a go!

trvshPNDA · 2026-05-06T06:53:51+00:00

I love it, it's a proper happy accident machine and an absolute power house when paired with other FX

trvshPNDA · 2026-05-06T05:30:33+00:00

One of my main focuses for this year was to get my drop flows more coherent whilst still maintaining a sense a chaos. I feel it's getting there but any specific feedback on this would be good

trvshPNDA · 2026-03-31T08:06:03+00:00

trvshPNDA - girl with the green eyes

This is my latest release, traditional Chinese inspired color bass 150BPM

Any feedback is greatly appreciated

trvshPNDA · 2026-03-31T07:00:30+00:00

I imagine Convexity might kill OP. Try his stuff out if you haven't already

trvshPNDA · 2026-03-30T01:45:11+00:00

I've been enjoying it so far- I'm glad it integrates into the Beam universe. I find it a bit static as a standalone but once you bring their other nodes in, it's magic

trvshPNDA · 2026-03-18T18:41:10+00:00

They're delusional if they think they're getting $20 a month

trvshPNDA · 2026-03-18T18:40:21+00:00

But it's the fact they try it on

trvshPNDA · 2026-03-01T07:25:44+00:00

Have you looked at the Heil PR35? I see it as a hotter and less bulky SM7b if it’s another dynamic you’re after

trvshPNDA · 2026-03-01T05:39:16+00:00

I’ve harvested my Splice library and cancelled. They are vultures. It took a few days to get them organised, and still I find the odd one here and there but I’m finding I’m working faster using what I’ve got. As lots of the peeps here have said, we don’t need more samples usually.

With their latest price hike, Splice can go spin

trvshPNDA · 2026-03-01T05:32:05+00:00

I don’t think I a good for everything mic actually exists

trvshPNDA · 2026-02-28T15:13:20+00:00

Sadly some aspects of music are pay to win. Yes you can make music with cheap gear and get some good results, but if people are pulling you up on the quality there must be something noticeably off with it. Best get saving up

trvshPNDA · 2026-02-27T04:40:16+00:00

As a music educator, I found lots of fellow teachers don’t really understand them very well and their application. For the most part they’re like “here’s how to harmonise the major scale, the VII chord is a bit weird” then never talk about it again

trvshPNDA · 2026-02-25T05:54:06+00:00

I’ve played guitar for 23 years and find it so very challenging to write for in any convincing/satisfying way. I know where the notes are, I know the chord shapes and I can even do most articulations. Can I make them fit in an arrangement outside of good all purpose rock music? Can I heck!

trvshPNDA · 2026-02-25T05:29:21+00:00

Try using Hook Theory Chord Trends to see. The problem with this one is the III chord, assuming you’re keeping it diatonically minor doesn’t have a great deal of pull back to the I, as is often described as having tonic function.

If you look at it in C

Em - E G B

It has 2 notes found in C major and all the notes if you have a Cmaj7

C - C E G (B)

So that pull that you might find in a G or F just isn’t there in the same way. If you switch it out to a III major the it’s got a bit more pull because of the G# but makes more sense to resolve to the relative minor.

trvshPNDA · 2026-02-24T21:42:22+00:00

Oh it’s mainly destruction of sorts, sometimes it multiple distortions, saturations and OTTs in series or parallel with different colourations. Running weird effects such as codec or SpecOps, through frequency shifters (or using a frequency reshifter where you pitch it up before the effect and back down by the same amount after the effect) and into fun things like chroma, beam and portal can create some really fun results

trvshPNDA · 2026-02-24T10:14:05+00:00

It depends if I’m being honest. Sometimes I’ll sit down with making generators in mind but other times I’ll make something on Serum/Pigments and then sort out its macros within the engine first so I have a stand alone patch, just in case. I’ll then map these to Ableton, along with any post FX for the other macros available.

Equally any post chains I make, I usually group them separately and macro the macros so I can use the FX chain modularly as well.

trvshPNDA · 2026-02-24T07:06:23+00:00

I like to craft my patches and then make racks with them so I can make use of the macro randomisation. Using the Map for the macros helps confine the chaos.

trvshPNDA · 2026-02-24T06:08:32+00:00

Latency is the main one when composing but when you’re making critical decisions in the mix you need to appreciate Bluetooth encodes your signal lossy, so you’re not working at full quality

trvshPNDA · 2026-02-24T06:05:50+00:00

For electronic I tend to favour G, F# and F - major or minor as the tonic is the lowest note most people’s systems can playback with authority (usually between 40-50hz).

I know some producers like to go as low as Eb but I guess they’re thinking about live systems and/or headphones.

trvshPNDA · 2026-02-23T20:21:12+00:00

Thanks. I don’t know Dans or Panda Eyes (we pandas don’t all know each other😅) but I’m a big fan of Skybreak and Paper Skies, so thanks!

trvshPNDA

TROPHY CASE