xerxes[no] wrote:I just talked to Thomas, the guy who did the mastering, and he gave me the chain with links. Very kind of him
[...]
His music site is here: http://twlmusic.no
Cheers,
Klaus
Great track there, impressive work! You really make use of the features, you can hear. I only use Renoise as a simple sequencer, haven't really dug into it deep enough. Love the automation tools tough, you can modulate any knob on any synth, it's like every stupid little VST becomes a huge programmable modular system when you think of the automation and routing possibilities.Oi, very difficult question.. how do one hear that it is tracked? Well, I think if you have spent some time listening to tracked music, there are certain things that would give it away. For instance, the main lead in the tune I did - without knowing exactly why - it sounds tracked. The tool itself lends it self to doing things differently than in regular DAWs - once again without knowing why. Personally I always use the tools that will allow me to do whatever needed in the best manner - and almost without exception that turns out to be Renoise. I do not like Renoise for mixing though - so for some sequencing and mixing, Logic is perfect. Oh, and if you want to record stuff, Renoise also really sucks. Renoise shines for programming and sequencing - either a VSTi or sample kits. If you have not tried it, I strongly suggest you find someone who knows it so they can show you around. It is A LOT of fun, trust me, and so easy it sometimes feels like cheatingGMusic wrote:Thank you very much for the mastering chain info! I can't use those plugins (both too expensive and not VST) but nice to know nonetheless.
Pardon my lack of experience, but what makes music made with 'trackers' unique and how could one tell it was made doing so?
Hi,GMusic wrote:Thank you very much for the mastering chain info! I can't use those plugins (both too expensive and not VST) but nice to know nonetheless.
Pardon my lack of experience, but what makes music made with 'trackers' unique and how could one tell it was made doing so?
Thank you very muchBen Locke wrote:xerxes[no] wrote:I just talked to Thomas, the guy who did the mastering, and he gave me the chain with links. Very kind of him
[...]
His music site is here: http://twlmusic.no (http://twlmusic.no)
Cheers,
Klaus
Now, I don't want to steal your thunder or anything, but wow! »Drømmefanger« (or »Dreamcatcher« in english) is just awesome!
Also, I really like the bandcamp site. It's so smooth, elegant and advertising free compared to MySpace and other music presentation sites!
Ok, back to Zebra-land!
Some suggestions from my "go to box of tools" :GMusic wrote:Thank you very much for the mastering chain info! I can't use those plugins (both too expensive and not VST) but nice to know nonetheless.
Pardon my lack of experience, but what makes music made with 'trackers' unique and how could one tell it was made doing so?
It isn't so much the host, but the compositional style, although lots of sample manipulation using the realtime track effects can certainly help give it away. Most folks who grew up musically through the tracker era (hard to say exactly when that is... 1988-1998 might be considered "golden era") and embraced that community developed a somewhat different approach to melody and sample manipulation in general. Most of it was very different from the contemporary popular music of the time. While the pop world was awash with diva/divo ballads, alternative rock and hip hop in the early to mid 90's, in retrospect what the tracker community was doing was decidedly more retro, although maybe a bit futuristic at the same time. Since most of the music was being done by youngsters on computers for the fun of it, there was boundless experimentation going on combining all kinds of musical styles together. Due to computer and track count limitations the compositions were primarily instrumental and pretty sparse resulting in a somewhat raw and exposed sound which definitely affected how the music was written. Melodies and basslines were typically very bold and confident (because there was nowhere to hideGMusic wrote:Thank you very much for the mastering chain info! I can't use those plugins (both too expensive and not VST) but nice to know nonetheless.
Pardon my lack of experience, but what makes music made with 'trackers' unique and how could one tell it was made doing so?
) and often jazzy/classically inspired. To create the illusion of chords, we often sampled lots of single sample chord variations from synths and to make the melody tracks more interesting we used volume tricks to create fake echos and portamento for expressiveness. We were doing sample slicing long before ReCycle was created. What was especially cool though is that the community prized creativity above all else and pushing the envelope, not necessarily about milking cliches or particular styles, although it kind of went that way later on. For the most part, anything goes because most folks weren't into it for the purpose of making money. I definitely miss those formative days. A more innocent time perhaps.Actually, I sometimes still do that.. with a bit of offset on the delayed notes, you can create quite unique delays that "calculated" delays cannot do. This is the beauty of using a tracker; you can do the most amazing stuff with just a little bit of track programmingPolybius wrote:I remember faking delay in Impulse Tracker by putting the same sample on different tracks, every track some ticks later and at a lower volume. I must have been 16yo or something, in a dos environment.
For synth sounds, i used a warezed copy of Cooledit to make sine/wave/saw samples, and made chords out of those.
We have it so good now, with all these VST's and what not
Maybe someday ..Submit: News, Plugins, Hosts & Apps | Advertise @ KVR | Developer Account | About KVR / Contact Us | Privacy Statement
© KVR Audio, Inc. 2000-2026
