That beat from 1:42 is really cool, between the kick and the bumbly acid layer. The staccatto claps are a nice touch. This goes in all directions, super interesting. I like how you open the track at 3:49!

That beat from 1:42 is really cool, between the kick and the bumbly acid layer. The staccatto claps are a nice touch. This goes in all directions, super interesting. I like how you open the track at 3:49!

excellent track, ENC_
LOVE the synth lead that comes in as the beat intensifies

"Continually un-optimistic and skeptical but hoping to see change. Do what we can locally."

this

excellent track, ENC_ LOVE the synth lead that comes in as the beat intensifies "Continually un-optimistic and skeptical but hoping to see change. Do what we can locally." this <3

Fantastic forward motion and first-class sound design. You understand the instrument really well.

Fantastic forward motion and first-class sound design. You understand the instrument really well.

Jeez these drums are just so punchy, I'm pretty mystified from a mixing/EQ perspective how they're able to be so present without swallowing everything else whole This groove has a great energy and so many enjoyable accents and syncopation.

Jeez these drums are just so punchy, I'm pretty mystified from a mixing/EQ perspective how they're able to be so present without swallowing everything else whole :lol: This groove has a great energy and so many enjoyable accents and syncopation.

Thank you! It's funny, the entire track is technically just one looping pattern. TBF it wouldn't sound good if all the parts of the pattern were playing at once so I guess my live muting is technically the structure. Probably would be better if I actually used the song mode they have built in

Appreciate you listening! Intensifying synths are pretty much a great description for the acid genre .

Had to learn that particular political perspective the hard way over many years. I briefly was an intern for a local politician and then worked with elected officials in an equally brief government job when I was younger. I think about those times a lot now. current political landscape have put a lot of things into perspective I didn't get at the time.

Thank you and thank you I am a bit ashamed to admit it but I actually have used my syntakt only a handful of times since I bought it at launch. Usually it's because I want to work on a video project and it seems to do well on my youtube channel for some reason. It's a fun and capable box but I end up ignoring it a lot of the time outside a few hours over the last 2 years. I should probably change that.

This is a topic I really love actually. Because I deal with electronic music there are some tricks I can use that wouldn't work with more traditional acoustic drum mixing. Kick and snare I alway keep center. Accenting hits like claps or shakers I use auto panning for flavor (done by assigning an LFO to pan knob) with a modest width. Toms I do the traditional stationary spread from left to right (The question is should I imitate what an audience member would here or the drummer infront of a kit?). Cymbals and high hats I like to use light stereo chorusing to add sizzle and space and sometimes a vary narrow randomized panning. For this particular device there is no built in chorus so instead I use an old trick I came up with from my time writing music on gameboys.

Using an LFO set to the random waveform I assign it to the panning. I increase the modulation rate to the highest setting. At this speed the modulation rate starts to go into a range that our brains can't process (smears together like and LFO reaching audio rates) so all you hear is the sound but with a wider stereo field and some extra static that blends into the sound. I adjust modulation depth to control the spread. Elektron instruments can all do this but not all electronic devices or autopans go fast enought to do this particular trick.

The rest is just tuning the drums, eqing, and side-chaining. I am pretty agressive about cutting below 100hz on all drums other then the kick. I try to do this on pitched sounds too so long as it isn't a bass instrument. For cymbals, high hats, shakers, tamborines, etc. I will even cut more aggressively (around 290hz). Playing with the stereo field can also be fun as an expression tool. Having the drums be mono and then cutting to a stereo sections and back to mono can emphasize a part (learned from listening to Aphex Twin's Window licker track opening). I also like to choose single drum hits and smashing them into a reverb or echo. Using saturation on things like snares, toms, and kicks adds mid harmonics to help cut through things.

Recently I quite like using midi velocity to create echos, volume variations, or imitate ducking when multiple sounds hit at the same time. Playing with the length of a percussive hit also can effect the mix and give more breathing space when things get complicated. Electronic drums also have polyphony limits so playing with that can limit the chaos of over lapping sounds.

I've spent a lot of time this year experimenting with this stuff in some extreme ways. Probably the hardest part for me right now is having a lighter hand and reserving the experiments in service of the track. Always more to learn

[quote=Kedbreak136]That beat from 1:42 is really cool, between the kick and the bumbly acid layer. The staccatto claps are a nice touch. This goes in all directions, super interesting. I like how you open the track at 3:49![/quote] Thank you! It's funny, the entire track is technically just one looping pattern. TBF it wouldn't sound good if all the parts of the pattern were playing at once so I guess my live muting is technically the structure. Probably would be better if I actually used the song mode they have built in :P [quote=jwh]excellent track, ENC_ LOVE the synth lead that comes in as the beat intensifies "Continually un-optimistic and skeptical but hoping to see change. Do what we can locally." this <3[/quote] Appreciate you listening! Intensifying synths are pretty much a great description for the acid genre :). Had to learn that particular political perspective the hard way over many years. I briefly was an intern for a local politician and then worked with elected officials in an equally brief government job when I was younger. I think about those times a lot now. current political landscape have put a lot of things into perspective I didn't get at the time. [quote=rplktr]Fantastic forward motion and first-class sound design. You understand the instrument really well.[/quote] Thank you and thank you :) I am a bit ashamed to admit it but I actually have used my syntakt only a handful of times since I bought it at launch. [url=https://youtu.be/O8Imi0yaaTs?si=EGuthpF6VShwxb0L]Usually it's because I want to work on a video project and it seems to do well on my youtube channel for some reason[/url]. It's a fun and capable box but I end up ignoring it a lot of the time outside a few hours over the last 2 years. I should probably change that. [quote=Cursory]Jeez these drums are just so punchy, I'm pretty mystified from a mixing/EQ perspective how they're able to be so present without swallowing everything else whole :lol: This groove has a great energy and so many enjoyable accents and syncopation.[/quote] This is a topic I really love actually. Because I deal with electronic music there are some tricks I can use that wouldn't work with more traditional acoustic drum mixing. Kick and snare I alway keep center. Accenting hits like claps or shakers I use auto panning for flavor (done by assigning an LFO to pan knob) with a modest width. Toms I do the traditional stationary spread from left to right (The question is should I imitate what an audience member would here or the drummer infront of a kit?). Cymbals and high hats I like to use light stereo chorusing to add sizzle and space and sometimes a vary narrow randomized panning. For this particular device there is no built in chorus so instead I use an old trick I came up with from my time writing music on gameboys. Using an LFO set to the random waveform I assign it to the panning. I increase the modulation rate to the highest setting. At this speed the modulation rate starts to go into a range that our brains can't process (smears together like and LFO reaching audio rates) so all you hear is the sound but with a wider stereo field and some extra static that blends into the sound. I adjust modulation depth to control the spread. Elektron instruments can all do this but not all electronic devices or autopans go fast enought to do this particular trick. The rest is just tuning the drums, eqing, and side-chaining. I am pretty agressive about cutting below 100hz on all drums other then the kick. I try to do this on pitched sounds too so long as it isn't a bass instrument. For cymbals, high hats, shakers, tamborines, etc. I will even cut more aggressively (around 290hz). Playing with the stereo field can also be fun as an expression tool. Having the drums be mono and then cutting to a stereo sections and back to mono can emphasize a part (learned from listening to Aphex Twin's Window licker track opening). I also like to choose single drum hits and smashing them into a reverb or echo. Using saturation on things like snares, toms, and kicks adds mid harmonics to help cut through things. Recently I quite like using midi velocity to create echos, volume variations, or imitate ducking when multiple sounds hit at the same time. Playing with the length of a percussive hit also can effect the mix and give more breathing space when things get complicated. Electronic drums also have polyphony limits so playing with that can limit the chaos of over lapping sounds. I've spent a lot of time this year experimenting with this stuff in some extreme ways. Probably the hardest part for me right now is having a lighter hand and reserving the experiments in service of the track. Always more to learn :)

a lot of that was over my head, but still really cool to read and think on. thank you for sharing all that

[quote=ENC_]This is a topic I really love actually. Because I deal with electronic music there are some tricks I can use that wouldn't work with more traditional acoustic drum mixing. Kick and snare I alway keep center. Accenting hits like claps or shakers I use auto panning for flavor (done by assigning an LFO to pan knob) with a modest width. Toms I do the traditional stationary spread from left to right (The question is should I imitate what an audience member would here or the drummer infront of a kit?). Cymbals and high hats I like to use light stereo chorusing to add sizzle and space and sometimes a vary narrow randomized panning. For this particular device there is no built in chorus so instead I use an old trick I came up with from my time writing music on gameboys. Using an LFO set to the random waveform I assign it to the panning. I increase the modulation rate to the highest setting. At this speed the modulation rate starts to go into a range that our brains can't process (smears together like and LFO reaching audio rates) so all you hear is the sound but with a wider stereo field and some extra static that blends into the sound. I adjust modulation depth to control the spread. Elektron instruments can all do this but not all electronic devices or autopans go fast enought to do this particular trick. The rest is just tuning the drums, eqing, and side-chaining. I am pretty agressive about cutting below 100hz on all drums other then the kick. I try to do this on pitched sounds too so long as it isn't a bass instrument. For cymbals, high hats, shakers, tamborines, etc. I will even cut more aggressively (around 290hz). Playing with the stereo field can also be fun as an expression tool. Having the drums be mono and then cutting to a stereo sections and back to mono can emphasize a part (learned from listening to Aphex Twin's Window licker track opening). I also like to choose single drum hits and smashing them into a reverb or echo. Using saturation on things like snares, toms, and kicks adds mid harmonics to help cut through things. Recently I quite like using midi velocity to create echos, volume variations, or imitate ducking when multiple sounds hit at the same time. Playing with the length of a percussive hit also can effect the mix and give more breathing space when things get complicated. Electronic drums also have polyphony limits so playing with that can limit the chaos of over lapping sounds. I've spent a lot of time this year experimenting with this stuff in some extreme ways. Probably the hardest part for me right now is having a lighter hand and reserving the experiments in service of the track. Always more to learn :)[/quote] a lot of that was over my head, but still really cool to read and think on. thank you for sharing all that

Ahhh, that bubbly bass line is SICK.

Ahhh, that bubbly bass line is SICK.