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WeeklyBeats.com / Music / kevanatkins's music / I am not a Seaboard Virtuoso

I am not a Seaboard Virtuoso

By kevanatkins on January 26, 2020 6:47 pm

So, I may have forgotten I impulse bought a Seaboard Rise 25 a few years back. I found it in the cupboard yesterday I was dicking around with it in Logic and end up making some interesting sounds with an organ patch that I then put through a resonant filter and a vocal processor, which totally wigs out trying to deal with the resonant peaks from the filter. The resultant chaos was chopped up in Ableton which is what comprises the lead line.

Track features live drums again. Same setup as last time. Bass and pad are derived from a couple of samples from my glitch library, which is the gift that keeps on giving. This track is my first try of using Waves NLS for summing. I had a bit of a play mixing phrase lengths, though everything lines up with an 18 bar cycle (chart below) with the drums and bass. Kind of inspired by the cycle in Mark Guiliana's Locked in a Basement.

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January 27, 2020 9:57 pm

From the chaos rises interesting snippets. Love what you're doing with the bass too.

January 29, 2020 10:54 pm

LIVE DRUMS CREW

great stuff!  how are you recording the drums?  I only have a two microphone interface so I'm just doing a room mic and kick drum, but need to figure something else out.  cool track!  The Seaboard looks W I L D

January 30, 2020 3:01 pm
orangedrink wrote:

LIVE DRUMS CREW

great stuff!  how are you recording the drums?  I only have a two microphone interface so I'm just doing a room mic and kick drum, but need to figure something else out.  cool track!  The Seaboard looks W I L D

Two words: Dick mic.

It's one mic pointed at the dick from above the bass drum. Gets a really tight overall kit sound. Compress it. Maybe do some transient shaping. Give it a bit of parallel saturation and plenty of shameless low end boost in the EQ, even a bit of RBass if you have no shame. For this track I also used Waves TransX. It's the heart of Louis Cole's drum sound.

January 30, 2020 8:49 pm

HA HA HA HA, that is hilarious.  What microphone do you have there?  I think I might need to buy a new microphone.

Here's what I have been using: Rode NT-1A for the room, Shure SM7B for the kick drum.

I don't know what transient shaping or parallel saturation mean, so I will have to do some research!  I have Ableton and they have this Drum Buss thing....oh look at that, I guess it does both things you are talking about https://ask.audio/articles/ableton-live … dio-effect


I will have to check out RBass and TransX thanks so much!

January 31, 2020 9:19 am

nice drumming! how do you like the seaboard? i always wondered how practical/useful it would be for composing beyond just doing some note bends here and there.

January 31, 2020 11:45 pm
orangedrink wrote:

HA HA HA HA, that is hilarious.  What microphone do you have there?  I think I might need to buy a new microphone.

Here's what I have been using: Rode NT-1A for the room, Shure SM7B for the kick drum.

I don't know what transient shaping or parallel saturation mean, so I will have to do some research!  I have Ableton and they have this Drum Buss thing....oh look at that, I guess it does both things you are talking about https://ask.audio/articles/ableton-live … dio-effect


I will have to check out RBass and TransX thanks so much!

The mic I'm using there is a AKG C414 just because that was what I was already on the stand at the moment. I reckon your SM7B would be a good fit for that position. Moreso than the NT1-a. But if you do want to get a new mic that is super versatile and similar to the C414, maybe check out SE 4400a. It's a multi-pattern mic like the C414, but a lot cheaper, and honestly, it sounds excellent. For half the price of one C414, you can get a matched pair of 4400as.

Transient shapers are an alternative to using compression to give things punch. Rather than being governed by the signal level coming in like with a compressor, it will respond to the envelope of any transient coming in. The advantage being that it will respond to all transients the same way regardless of their level. There are heaps of different transient shaping tools out there. The classic one is the SPL Transient Designer, which is a hardware unit, but there are heaps of plugin emulations out there. Shop around, run some trials, find one you like. I use TransX, partly because I'm a live sound engineer and Waves plugins work well live with the Avid and DiGiCo consoles I use.

Parallel saturation and parallel processing in general is very useful mixing tool. Basically you split your signal into two channels, one channel is clean and the other is completely distorted. You bring up the clean channel first and then blend in the distorted version to give it a bit more grit without losing a whole lot of detail and dynamics. That's probably what's happening under the hood with that Ableton rack. But I prefer to have a bit more control over things. Great for vocals and drums. Adds a lot of life to a mix. I do when mixing live all the time.

zirafa wrote:

nice drumming! how do you like the seaboard? i always wondered how practical/useful it would be for composing beyond just doing some note bends here and there.

Honestly, the thing was an impulse buy when it was being flogged second hand at one of my local music stores. It's really cool in that you get things like polyphonic pitch bending, aftertouch, etc. But it is something that you do have to kind of re-learn keyboard technique for. The first few weeks I had it, it sounded like shit because it's really easy to miss notes and land between. However, the build quality is excellent and the implementation is very good. I just don't really use it. It can be really cool if you spend the time with it, but I couldn't be bothered, so I'm probably going to get rid of it.

February 2, 2020 9:58 pm

great.

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