Thanks! I'm glad you dig it. I'd call it a sextuplet groove. Septuplets would be 7, right? The snare ghost notes come from an EQd, stereo delay on the drum buss. And yeah, compression is easy to abuse. Outside of the instances of Neutron and Ozone I slapped on the mix buss for this quick bounce, there's not a single compressor running on that track. I try to get most of the way there with arrangement and fader levels, then use EQ as the icing on the cake. That percussion piece was rad. I never understand how people are sitting motionless watching stuff like that. It makes me move. Were you playing in that vid? I had drum lessons for years as a kid so I know all the weird drum rudiment jargon. And I have heard of Knower! Louis Cole is a very talented musician. I especially enjoy the live versions of Overtime and Time Traveller.
I dig both of these! The first one has a real classic feel to it. I think it must be that saturated Rhodes type sound (like in this track). I look forward to hearing them fleshed out.
Thanks for listening! :) As for the classic synth, I messed with the settings of a preset named "Asia" of Arturia's emulation of the 1974 Oberheim SEM synth. Bass guitar was played on a five-string bass guitar. Will be revised. The bass synth in the second song is built from native ableton oscillators (operator), which I just kinda fiddled with until something OK happened, but it still needs work. I'm trying to always consider CPU optimization for eventual live performance, and native is the way to go. edit: NOTE: not "Native", in this instance. I'm sure you know, this is for posterity. In the modern age of cheating with youtubb tutorials, it's an entirely different ballgame than when I stopped producing five years ago. It's like finally getting cheat codes. And then crazy great software updates, too. I am not worthy.
Yyyyup. We almost assuredly never said "sextuplet" 'cuz "sex". Welcome to the southern U.S.! No no, I never played for the Blue Devils, lol. Just high school drumline, but about five or six of us got realllllly technical with it. I learned that version of "Ditty" for snare, and then tenors (also called: "quints") and then partially bass, but the 'Devils have since changed it, perhaps even several times. I think, ideally, it'd get sprinkled in with rudiments and time signatures from each year's marching pieces. Sidestory, sorry: Went to high school summer drumline camp twice, and on the second time was kicked out, because I was caught at 10 pm by the local college campus police with two of my bandmates while they were smoking cigars at age 16 or 17. Sent home, the next morning. Parents furious. Ahem. Anyway, we'd make up phrases, like triplet cheese pataflafla para flam-flam, and pretended like it was code for something, by responding "AHHH... ohhhHHH. Yeesssss...". Then someone would protest by scatting trap set drum sounds as accurately as possible, like "tsi-tsi-brrr-cah-brrha-brr-ahpp-prrr-KAH!" or whatever, it was all totally normal. Ozone addict, here. I'm trying to make it the only plug-in I use besides Ableton's native stuff and Arturia's synths. Going for live performance, with two ex-drumliners, from above stories. Latency is a concern, obvz. It may be that I end up processing my master track and even some processing chains on a central rasperry pi hooked up to three synchronized instances of Albeton. Gonna have to work that out fully when our new "band" can actually meet up. I built a little studio in the past few months, so that's online now, and woooooooo! Been fun. Still getting my DAW legs back, though. My overcompression is perhaps at least semi-intentional. I think it's the genres I listen to that influence me, like vaporwave, futurefunk, and countless other electronic solo "french touch sampling disco tracks from mother's basement" type acts. I at least somewhat compress each track individually, then sidechain compress individual instrument tracks pretty liberally to the kick and snare, and then even introduce a little bit of Ozone's maximizer in the master. And it doesn't help that I still mix/master in headphones, because I live with someone that I care about, who, assuredly, doesn't appreciate hearing the same sample 153 times within one minute while I attempt to fine tune it. Even if they're on the other side of the house. And I've seen good mastering practice, but right now, for me, it's all about smashing things together and seeing what sounds come out ASAP, all the way down the chain. I've done some of this before, but going for original vox, now, and working towards a trio live performance, and so many more things, it's an entirely new scenario. Fun. Yeah, "Overtime" is great, longtime fave, but hadn't seen/heard "Time Traveler" yet, thanks :).