workflow in PSPSeq - thoughts on making a loop
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ethan
Aug 19, 2008, 8:51:34 PM8/19/08
to PSPSeq
so i've been thinking a bit about workflow recently. i've had the
chance to work with a couple people just picking up PSPSeq and see
where their stumbling points are. typically problems arise once they
actually try and make music with PSPSeq. i hadn't quite realized that
there's a step between learning the button combo and making music. i
guess writing the program will do that. i'll probably record a video
that talks through all of this as well, but i figured some of you
might benefit from seeing this typed out.
before going any further these are just my general techniques on
making music with the program. it's not the be all say all
methodology. i'm sure that others have their own methods or tweaks to
this that i could learn from as well and i'd love to hear your
comments. HS, i'm particularly interested in your methods since you
can churn out music a lot faster than me.
basically, the way i write a song is build up a loop which will be the
apex of the song. i spend a lot of time focusing on this for a couple
reasons. first of all with the processing limitations of PSPSeq it's
good to know what exactly you can accomplish before hitting 100%
utilization. also, it's important to get the tracks right because i
do a lot of copying of loops from the master loop to make the
beginning and ending of a song. it really stinks to realize that you
should have made one extra track from the beginning and need to "COPY
TRACK FROM LOOP" over and over again to get that bit carried across
(this happened on kiera with the sub-base track).
yes, focusing on the apex is important.
also, i try and think about FX on channels. once i know how many
tracks are necessary i try and either pare down FX if i need an extra
track or include unused FX (especially SVF) if i have the cycles to
spare. it's really annoying to get 1/2 way through a song and realize
your lead really needs a filter right now or decide you want to
repurpose a track but it can't sound right because it's missing an
effect.
in terms of instruments, i typically plan on needing 2 tracks for a
kick (BAM or FM, maybe with SVF), 3-4 tracks for hats and snares
(either N or KS with SVF or DEC), and then the rest goes for melodic,
pitched rhythmic, or just weird atmospheric sounds. if i have extra
cycles left over i'll pick a few key tracks and create the same
channel twice, pan them L/R and slightly change a parameter to give it
a nice stereo effect. i find that if you can make a couple true
stereo sounds and then slightly pan the other mono sounds it livens up
the mix a lot. if there's any cycles left after all that, i'll
usually just add in FMSVF since it's such a flexible little gen/fx
combo.
so, how do i actually go about making the core loop? for rhythmic
tracks i'll lay out the basic pattern of a couple tracks not paying
much attention to the sounds. once i have the pattern in place i go
into EDIT SYNTH (remember the triangle+L-trig+R-trig shortcut) and
start tweaking all the sounds together at the same time (hold triangle
while pressing A-pad or D-pad up/down + L/R trigger to slow or speed
up the rate of change). since it's rhythmic the hits happen fast and
you can tweak the sound very quickly. EXP is generally a better
envelope for percussive sounds since exponentials generally mimic how
sounds in the real world decay (exponentially!). once i have the
basics in place i might use the randomize feature to add a little bit
of variation to each hit (for example to the freq of a kick drum).
you do this by going to the first step to randomize via A-pad left/
right in the GEN/FX/ENV menu, setting the min randomize value, press
X, using A-pad left/right again to get to the last step, setting the
max value, and pressing X one more time. the current step is always
reflected in the X: at the bottom left of the screen (don't look at
the highlighten box in the sequencer).
for melodic percussive sounds it's pretty much the same idea.
as an aside, one thing i recently discovered is that you can create
pseudo echo effects on noise instruments by having two tracks playing
at the same steps. one is the main percussive noise, the other is a
diffuse noise like what you might get from an NSVF with a high pass
filter. give it a longer tail to decay than the main noise. you'll
need to tweak the amplitudes and frequencies to make sure it sounds
like an echo rather than another instrument but it can sound pretty
cool.
for pads i typically do the following:
1. trigger the first step in the pad track by pressing X.
2. go to the 2nd step, press X, but hold it and press the D-pad up to
change the step from a trigger step to a control only step. the step
will now be pink. what this does is not retrigger the envelope at
that step. all other synth parameters are reloaded from the data
stored at that step.
3. make sure you're still on the 2nd step and press START->TRACK-
>FILL TRACK. set fill step to 1. this will fill all steps from the
2nd step to the last one with pink boxes. now the track reloads synth
data at every step.
4. go to the GEN/FX/ENV menu (triangle+L-trig+R-trig), select ENV
5. select an env type of EXP. this is probably already true. if not
highlight DADSR, press triangle, R-trig, and D-pad up. this changes
DADSR to EXP for all steps in the loop, ensuring that every step uses
the DADSR envelope.
6. select EXPMULT, hold triangle, and try and make this value as
close to 1.0000 as possible while keeping it under 1.0000. what this
does is make the envelope decay very slowly so the sound stays at a
constant valume through the loop.
7. go back to the GEN menu. start modifying parameters, but always
hold triangle when you're doing this. what you've got now is instant
control at every step so you can hear your changes very quickly. very
useful for tweaking pads and other sounds which don't trigger often.
it's also a lot of fun to make synth changes on the fly. :)
another simple trick for making a melodic track sound more alive is to
make a copy of a melodic fragment and shift the copied track up/down
an octave. you can do this and preserve frequency data by holding O
when in the EDIT SYNTH menus. if you hold O while pressing R-trig and
D-pad up or down on the frequency parameter you'll raise or lower the
frequency of the copied track by one octave. and as opposed to
triangle which forces all parameters to the same value, using O will
maintain the frequency contour so it's a 1 octave pitch shift. makes
it very fast to build complex synth sounds. if you use R-trig instead
of L-trig with D-pad it goes one semitone rather than 1 octave. good
for building chords.
so that's the basics of control. after the loop sounds nice and
complex i'll copy it to loop 99 to save as a reference and start the
beginning of the song at loop 00. i'll copy the main loop a few times
to other loops, mute tracks, and figure out how the song will flow
from there.
that's really about it. there are other tricks and suggestions on
specific sound design (like good parameters for a kick drum) but in
terms of how to make a good loop, this is the basic blueprint. a lot
just comes down to experimentation and practice. eventually you learn
what synths are good for what sounds and it all just becomes 2nd
nature.
happy to answer any questions on this or get into more detail. hope
this helps some of you.
ethan
chance to work with a couple people just picking up PSPSeq and see
where their stumbling points are. typically problems arise once they
actually try and make music with PSPSeq. i hadn't quite realized that
there's a step between learning the button combo and making music. i
guess writing the program will do that. i'll probably record a video
that talks through all of this as well, but i figured some of you
might benefit from seeing this typed out.
before going any further these are just my general techniques on
making music with the program. it's not the be all say all
methodology. i'm sure that others have their own methods or tweaks to
this that i could learn from as well and i'd love to hear your
comments. HS, i'm particularly interested in your methods since you
can churn out music a lot faster than me.
basically, the way i write a song is build up a loop which will be the
apex of the song. i spend a lot of time focusing on this for a couple
reasons. first of all with the processing limitations of PSPSeq it's
good to know what exactly you can accomplish before hitting 100%
utilization. also, it's important to get the tracks right because i
do a lot of copying of loops from the master loop to make the
beginning and ending of a song. it really stinks to realize that you
should have made one extra track from the beginning and need to "COPY
TRACK FROM LOOP" over and over again to get that bit carried across
(this happened on kiera with the sub-base track).
yes, focusing on the apex is important.
also, i try and think about FX on channels. once i know how many
tracks are necessary i try and either pare down FX if i need an extra
track or include unused FX (especially SVF) if i have the cycles to
spare. it's really annoying to get 1/2 way through a song and realize
your lead really needs a filter right now or decide you want to
repurpose a track but it can't sound right because it's missing an
effect.
in terms of instruments, i typically plan on needing 2 tracks for a
kick (BAM or FM, maybe with SVF), 3-4 tracks for hats and snares
(either N or KS with SVF or DEC), and then the rest goes for melodic,
pitched rhythmic, or just weird atmospheric sounds. if i have extra
cycles left over i'll pick a few key tracks and create the same
channel twice, pan them L/R and slightly change a parameter to give it
a nice stereo effect. i find that if you can make a couple true
stereo sounds and then slightly pan the other mono sounds it livens up
the mix a lot. if there's any cycles left after all that, i'll
usually just add in FMSVF since it's such a flexible little gen/fx
combo.
so, how do i actually go about making the core loop? for rhythmic
tracks i'll lay out the basic pattern of a couple tracks not paying
much attention to the sounds. once i have the pattern in place i go
into EDIT SYNTH (remember the triangle+L-trig+R-trig shortcut) and
start tweaking all the sounds together at the same time (hold triangle
while pressing A-pad or D-pad up/down + L/R trigger to slow or speed
up the rate of change). since it's rhythmic the hits happen fast and
you can tweak the sound very quickly. EXP is generally a better
envelope for percussive sounds since exponentials generally mimic how
sounds in the real world decay (exponentially!). once i have the
basics in place i might use the randomize feature to add a little bit
of variation to each hit (for example to the freq of a kick drum).
you do this by going to the first step to randomize via A-pad left/
right in the GEN/FX/ENV menu, setting the min randomize value, press
X, using A-pad left/right again to get to the last step, setting the
max value, and pressing X one more time. the current step is always
reflected in the X: at the bottom left of the screen (don't look at
the highlighten box in the sequencer).
for melodic percussive sounds it's pretty much the same idea.
as an aside, one thing i recently discovered is that you can create
pseudo echo effects on noise instruments by having two tracks playing
at the same steps. one is the main percussive noise, the other is a
diffuse noise like what you might get from an NSVF with a high pass
filter. give it a longer tail to decay than the main noise. you'll
need to tweak the amplitudes and frequencies to make sure it sounds
like an echo rather than another instrument but it can sound pretty
cool.
for pads i typically do the following:
1. trigger the first step in the pad track by pressing X.
2. go to the 2nd step, press X, but hold it and press the D-pad up to
change the step from a trigger step to a control only step. the step
will now be pink. what this does is not retrigger the envelope at
that step. all other synth parameters are reloaded from the data
stored at that step.
3. make sure you're still on the 2nd step and press START->TRACK-
>FILL TRACK. set fill step to 1. this will fill all steps from the
2nd step to the last one with pink boxes. now the track reloads synth
data at every step.
4. go to the GEN/FX/ENV menu (triangle+L-trig+R-trig), select ENV
5. select an env type of EXP. this is probably already true. if not
highlight DADSR, press triangle, R-trig, and D-pad up. this changes
DADSR to EXP for all steps in the loop, ensuring that every step uses
the DADSR envelope.
6. select EXPMULT, hold triangle, and try and make this value as
close to 1.0000 as possible while keeping it under 1.0000. what this
does is make the envelope decay very slowly so the sound stays at a
constant valume through the loop.
7. go back to the GEN menu. start modifying parameters, but always
hold triangle when you're doing this. what you've got now is instant
control at every step so you can hear your changes very quickly. very
useful for tweaking pads and other sounds which don't trigger often.
it's also a lot of fun to make synth changes on the fly. :)
another simple trick for making a melodic track sound more alive is to
make a copy of a melodic fragment and shift the copied track up/down
an octave. you can do this and preserve frequency data by holding O
when in the EDIT SYNTH menus. if you hold O while pressing R-trig and
D-pad up or down on the frequency parameter you'll raise or lower the
frequency of the copied track by one octave. and as opposed to
triangle which forces all parameters to the same value, using O will
maintain the frequency contour so it's a 1 octave pitch shift. makes
it very fast to build complex synth sounds. if you use R-trig instead
of L-trig with D-pad it goes one semitone rather than 1 octave. good
for building chords.
so that's the basics of control. after the loop sounds nice and
complex i'll copy it to loop 99 to save as a reference and start the
beginning of the song at loop 00. i'll copy the main loop a few times
to other loops, mute tracks, and figure out how the song will flow
from there.
that's really about it. there are other tricks and suggestions on
specific sound design (like good parameters for a kick drum) but in
terms of how to make a good loop, this is the basic blueprint. a lot
just comes down to experimentation and practice. eventually you learn
what synths are good for what sounds and it all just becomes 2nd
nature.
happy to answer any questions on this or get into more detail. hope
this helps some of you.
ethan
H- Seiken
Aug 19, 2008, 9:27:16 PM8/19/08
to psp...@googlegroups.com
I don't think anyone would be interested in my 'methods' since they seem to change song to song, but I mostly do what ethan describes. I make a loop or 2 loop 'super loop' of 4 measures if necessary, but generally, I try to use mostly FM sounds for 2 reasons:
1.) FM is just cool to me and most people don't use it, commercial or otherwise.
2.) It's ultra versatile if you learn a bit about it.
Anyway, when I make my starting point, I generally start with a bassline. Lately, I've fallen in love with the random generator. I will plot out the rhythmic triggers that sound cool and load up a patch i've saved onto the steps for a quick fix on a bass sound (but will change it later) then I randomize the notes, generally 2 lower octaves (since we ARE working on a bassline). I randomize until I get something that's halfway cool sounding (to me). It won't be perfect. I go back and fix notes that aren't in the chord(s) of the rest of the bassline...
Next, I usually add a couple of WAVSVF tracks for loop playback and load up a quick loop to have some rhythmic sound before I go on. It's just a place holder.
Then I try to make a chord from a couple more fm tracks (again working from a patch or a quick pad sound I quickly edit...again, good to know fm ins and outs for this!) either a pad or a stab...just something to flesh out the melody.
Then I go back and edit the sounds of the bass, generally a per step deal after I use TRIANGLE to get the 'control' sound (what I mean by that is I make the bass starting point synth parameters equal across the board) then go change a couple of parameters for accents and such. I do this for the chords too. Then I finalize my drums, which usually consist of a main chopped up drum loop and a high pass percussive loop layered on top. This usually makes drum loops everyone's heard before more unique because of the extra layer that doesn't kill the original drum sounds but still adds something new. IDK. I just like that. :)
At any rate, at this point, I garnish with more fm, usually stereo effects or leads or both.
That's how my main loop is made.
From here, I play around a bit with the mute/solo features in realtime trying to get a feel with how the song could flow. Once I get an idea, then from this point on, I pretty much copy single tracks between loops. I.E. if I think the song would start off awesome with the bassline, I copy the only the bass from the main loop into first loop of the song and edit it to tastes for use as an 'intro'...i.e. playing with a filter sweep or trimming down on the triggers to make a 'simple version' of it etc...just try different things. Once I figured out how I'm going to gradually get 'into' the main-song's version of the bass I copy the previous edited version over (i.e. I copy the edited bass, not the main loop one). This continues until I need to return to the sound's roots. At that point, I copy the original 'main loop' version to a new loop.
As I progress, I get ideas of things to add and generally just jot them down where they sound cool either by copying and editing stuff from the main loop or just making it up as I go along. Sometimes, I decide I want to have a new section in the song. At this point, I go back to main loop and select a loop lower (i.e. if mainloop was 99, then i go to 98) and from main loop, i copy rhythmic elements and tracks that have a sound I want to keep (i.e. the bass sound's synth parameters i'd keep, so i'd copy that track). For the tracks I want to keep the sound, I just clearloop everything but the first trigger. When I go back and make a 'new' main loop the two 'main loops' are side by side and i can keep flipping between the two and preview how a transition would sound. If I don't like it, I start over on the new part.
Sounds kind of boring when I explain it. Hmmmm...oh well... but yeah, my main method is to copy individual tracks mostly and use the original loop as a grounding to keep the song from straying *too* far away from my original idea (because it will sometimes!).
Also, for dance music, if you're into that, lots of commercial producers get away with the 3-1 ratio. It's not a bad thing in many cases. Basically you have a loop that repeats 3 times and the 4th time, something changes. If your changes in the 4th loop are cool, the repeating of the first part isn't as noticable. Also fun to do is do the 1-3 changeup. It's the same thing as the 3-1 but the first loop is different and the last 3 are the same. When paired up like this: 3-1/1-3, somehow it sounds more drasticly changing than it really is...but again, it depends on the dynamics of that 1 loop changeup. Anyway...blah. :)
1.) FM is just cool to me and most people don't use it, commercial or otherwise.
2.) It's ultra versatile if you learn a bit about it.
Anyway, when I make my starting point, I generally start with a bassline. Lately, I've fallen in love with the random generator. I will plot out the rhythmic triggers that sound cool and load up a patch i've saved onto the steps for a quick fix on a bass sound (but will change it later) then I randomize the notes, generally 2 lower octaves (since we ARE working on a bassline). I randomize until I get something that's halfway cool sounding (to me). It won't be perfect. I go back and fix notes that aren't in the chord(s) of the rest of the bassline...
Next, I usually add a couple of WAVSVF tracks for loop playback and load up a quick loop to have some rhythmic sound before I go on. It's just a place holder.
Then I try to make a chord from a couple more fm tracks (again working from a patch or a quick pad sound I quickly edit...again, good to know fm ins and outs for this!) either a pad or a stab...just something to flesh out the melody.
Then I go back and edit the sounds of the bass, generally a per step deal after I use TRIANGLE to get the 'control' sound (what I mean by that is I make the bass starting point synth parameters equal across the board) then go change a couple of parameters for accents and such. I do this for the chords too. Then I finalize my drums, which usually consist of a main chopped up drum loop and a high pass percussive loop layered on top. This usually makes drum loops everyone's heard before more unique because of the extra layer that doesn't kill the original drum sounds but still adds something new. IDK. I just like that. :)
At any rate, at this point, I garnish with more fm, usually stereo effects or leads or both.
That's how my main loop is made.
From here, I play around a bit with the mute/solo features in realtime trying to get a feel with how the song could flow. Once I get an idea, then from this point on, I pretty much copy single tracks between loops. I.E. if I think the song would start off awesome with the bassline, I copy the only the bass from the main loop into first loop of the song and edit it to tastes for use as an 'intro'...i.e. playing with a filter sweep or trimming down on the triggers to make a 'simple version' of it etc...just try different things. Once I figured out how I'm going to gradually get 'into' the main-song's version of the bass I copy the previous edited version over (i.e. I copy the edited bass, not the main loop one). This continues until I need to return to the sound's roots. At that point, I copy the original 'main loop' version to a new loop.
As I progress, I get ideas of things to add and generally just jot them down where they sound cool either by copying and editing stuff from the main loop or just making it up as I go along. Sometimes, I decide I want to have a new section in the song. At this point, I go back to main loop and select a loop lower (i.e. if mainloop was 99, then i go to 98) and from main loop, i copy rhythmic elements and tracks that have a sound I want to keep (i.e. the bass sound's synth parameters i'd keep, so i'd copy that track). For the tracks I want to keep the sound, I just clearloop everything but the first trigger. When I go back and make a 'new' main loop the two 'main loops' are side by side and i can keep flipping between the two and preview how a transition would sound. If I don't like it, I start over on the new part.
Sounds kind of boring when I explain it. Hmmmm...oh well... but yeah, my main method is to copy individual tracks mostly and use the original loop as a grounding to keep the song from straying *too* far away from my original idea (because it will sometimes!).
Also, for dance music, if you're into that, lots of commercial producers get away with the 3-1 ratio. It's not a bad thing in many cases. Basically you have a loop that repeats 3 times and the 4th time, something changes. If your changes in the 4th loop are cool, the repeating of the first part isn't as noticable. Also fun to do is do the 1-3 changeup. It's the same thing as the 3-1 but the first loop is different and the last 3 are the same. When paired up like this: 3-1/1-3, somehow it sounds more drasticly changing than it really is...but again, it depends on the dynamics of that 1 loop changeup. Anyway...blah. :)
H- Seiken
Aug 19, 2008, 9:31:28 PM8/19/08
to psp...@googlegroups.com
one more thing I try to do is some classic 'tricks' to save audio channels.
Drums and general percussion sounds are a big one for me. Even if I'm doing a 4/4 kick techno type song, I generally try to put a track on double or even triple duty by making multiple drum sounds on a single track. I.E. On one track, I'll have the kick and the body of a snare (pretty much the same thing, a fast pitch slide, but at different speeds and starting frequencies) and on another track will be the high hats and the hiss of the snare. Therefore I have 3 sounds coming out of 2 channels. For the most part, this works and you can use layered sounds like this too (i.e. the snare is good example...).
Drums and general percussion sounds are a big one for me. Even if I'm doing a 4/4 kick techno type song, I generally try to put a track on double or even triple duty by making multiple drum sounds on a single track. I.E. On one track, I'll have the kick and the body of a snare (pretty much the same thing, a fast pitch slide, but at different speeds and starting frequencies) and on another track will be the high hats and the hiss of the snare. Therefore I have 3 sounds coming out of 2 channels. For the most part, this works and you can use layered sounds like this too (i.e. the snare is good example...).
ethan
Aug 19, 2008, 9:58:39 PM8/19/08
to PSPSeq
hey that was very interesting. thanks! one thing i like is the idea
of having multiple "main loops" and storing them in the last few loop
slots. i think i'm ok at writing a loop but songs just sound like a
march from point to point. having multiple main loops that you're
working off of would help solve that problem.
i tend to start with the kick and hats and then add bass after that.
probably why my basslines stink.
i don't think i can overstate the importance of copying tracks in a
loop to build up more complex synth sounds. while a single FMSVF
sounds ok on its own, if you can get a few of them going at the same
time running octaves away from each other with separate pan values you
can make some really great sounds. this is a lot easier to figure out
and implement early on rather than after you're 80% done with the song
and decide your lead is weak. trust me.
also, if you're just getting into PSPSeq i'd recommend making a new
instrument grouping which is just 7 WAV synths with each FX unit
attached to them. try loading up a familiar sound like an amen break
and do the control step trick i explained before with the pads so
you'll have instant control over the parameters. then just go and
experiment with each FX unit. things like SVF are pretty
straightforward (though you can get some harsh sounds if you crank the
feedback all the way up to 1.000) but others like PCF just require
experimentation. they can also be used in rhythmic ways by using
control only steps and applying an effect for a very short period of
time over specific steps, while turning down the effect in all the
other steps. sort of a gated FX "effect", if you will.
> ...
>
> read more »
of having multiple "main loops" and storing them in the last few loop
slots. i think i'm ok at writing a loop but songs just sound like a
march from point to point. having multiple main loops that you're
working off of would help solve that problem.
i tend to start with the kick and hats and then add bass after that.
probably why my basslines stink.
i don't think i can overstate the importance of copying tracks in a
loop to build up more complex synth sounds. while a single FMSVF
sounds ok on its own, if you can get a few of them going at the same
time running octaves away from each other with separate pan values you
can make some really great sounds. this is a lot easier to figure out
and implement early on rather than after you're 80% done with the song
and decide your lead is weak. trust me.
also, if you're just getting into PSPSeq i'd recommend making a new
instrument grouping which is just 7 WAV synths with each FX unit
attached to them. try loading up a familiar sound like an amen break
and do the control step trick i explained before with the pads so
you'll have instant control over the parameters. then just go and
experiment with each FX unit. things like SVF are pretty
straightforward (though you can get some harsh sounds if you crank the
feedback all the way up to 1.000) but others like PCF just require
experimentation. they can also be used in rhythmic ways by using
control only steps and applying an effect for a very short period of
time over specific steps, while turning down the effect in all the
other steps. sort of a gated FX "effect", if you will.
>
> read more »
11hzrobot
Aug 20, 2008, 4:06:50 AM8/20/08
to PSPSeq
thanks. all kinds of good tips in both those posts.
> ...
>
> read more »
>
> read more »
4ormal
Sep 7, 2008, 5:49:26 PM9/7/08
to PSPSeq
I just read both of these posts and I still seem to be a bit lost.
There is TONS of great info here, but it's way different then my music
approach has been thus far (samplers and drum machines). I think a
video would be a great addition to these tutorials since many people
learn better visually. Ethan, your application is very complex and
powerful and I'd hate to miss out on any of the important features.
Also, I think giving a demo will encourage other people to start
experimenting and creating new stuff. As a suggestion I think you and
H_S should join up and create a tag team video so we can see two
different methods! The more people who know how to rock this
application the faster word will spread.
Viva la PSP!
4ormal
> ...
>
> read more »
There is TONS of great info here, but it's way different then my music
approach has been thus far (samplers and drum machines). I think a
video would be a great addition to these tutorials since many people
learn better visually. Ethan, your application is very complex and
powerful and I'd hate to miss out on any of the important features.
Also, I think giving a demo will encourage other people to start
experimenting and creating new stuff. As a suggestion I think you and
H_S should join up and create a tag team video so we can see two
different methods! The more people who know how to rock this
application the faster word will spread.
Viva la PSP!
4ormal
>
> read more »
ethan
Sep 7, 2008, 8:20:27 PM9/7/08
to PSPSeq
hey, first of all sorry about the confusion about the post not
appearing - i've had some rather annoying spam recently so i've gone
to moderating messages for new members. hopefully now that i've ok'ed
this one you'll be fine from now on. weclome to the party.
tutorial videos will happen, hopefully in the next few weeks. it's
just daunting because there's a lot to say and if i try and do it off
the cuff (like the existing videos on youtube) i end up forgetting
things and generally sounding like i don't know how my own program
works. ;)
HS has offered to do videos, but he doesn't have anything to record
them with. i'd love to have him do it. join the 21st century man!
what exactly do you think is most difficult to grasp and different
between PSPSeq and more traditional sequencers? the idea of control-
only steps for modifying parameters? all the button combos? the
oddity of some of the synth parameters and FX algorithms? certainly
i'm so used to how it works that it all makes intuitive sense but i
understand conceptually that if you're new to the program there is a
real learning curve involved. i don't think many of the basic
concepts will change but i want to do everything i can to explain how
to best use the program. i hope the demo songs are good enough to
generate enough interest to force people to get over that hump, but it
would be nice to make that hump as low and smooth as possible.
ethan
> ...
>
> read more »
appearing - i've had some rather annoying spam recently so i've gone
to moderating messages for new members. hopefully now that i've ok'ed
this one you'll be fine from now on. weclome to the party.
tutorial videos will happen, hopefully in the next few weeks. it's
just daunting because there's a lot to say and if i try and do it off
the cuff (like the existing videos on youtube) i end up forgetting
things and generally sounding like i don't know how my own program
works. ;)
HS has offered to do videos, but he doesn't have anything to record
them with. i'd love to have him do it. join the 21st century man!
what exactly do you think is most difficult to grasp and different
between PSPSeq and more traditional sequencers? the idea of control-
only steps for modifying parameters? all the button combos? the
oddity of some of the synth parameters and FX algorithms? certainly
i'm so used to how it works that it all makes intuitive sense but i
understand conceptually that if you're new to the program there is a
real learning curve involved. i don't think many of the basic
concepts will change but i want to do everything i can to explain how
to best use the program. i hope the demo songs are good enough to
generate enough interest to force people to get over that hump, but it
would be nice to make that hump as low and smooth as possible.
ethan
>
> read more »
H- Seiken
Sep 9, 2008, 1:41:01 PM9/9/08
to psp...@googlegroups.com
Hey, good news, maybe...a guy at work needs me to hold on to some items for him a bit and one of them is a digital camcorder. :) Depending on how long I hold on to it, I can maybe spit out at least one video.
Ethan Bordeaux
Sep 10, 2008, 8:57:42 AM9/10/08
to psp...@googlegroups.com
please do! workflow/demo on how you do some of the WAV effects/FM overview vids would be awesome. :)
H- Seiken
Sep 18, 2008, 12:33:42 PM9/18/08
to psp...@googlegroups.com
Bad news..I THOUGHT it was a digital camera. Nope...it's an oldskool one like Marty McFly used on Back to the Future...this guy is into archaic electronics. Weirdo.
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