Just wait until you discover hard clipping
There’s this really cool plugin I use a lot called Lossy that simulates MP3 and streaming quality loss. Anyways, there are some cool ways to achieve that sound without paying for the plugin. Like, resampling by rendering an individual track or bus in your project as a really low-quality MP3 can be pretty cool, you get these underwater-esque artifacts straight from 2002. You could swap in the MP3-ified sound at certain moments to like punctuate something or shift the tone of the track for a bit or blend it in with the original or whatever.
Randomized volume automation or a chaotically modulated tremolo plugin could be used to simulate streaming packet loss. If you have access to random LFOs you could use one to modulate the speed of a square LFO that modulates the volume so it’s randomly turning on and off. If you don’t have software that has random LFOs you would just need to chain a bunch of sine LFOs together (each one modulating the speed of the next) with the last one modulating the speed of a square LFO that’s modulating the volume. Messing with the depth of the volume automation or the wet/dry can make it more subtle of an effect.
I’m in the Brian Eno camp where I think a lot of really cool effects (distortion, vinyl crackles, tape warbles) arise from controlling the failures of specific medium. Makes me wonder if people in the future will be loading up 128 kbps MP3s onto their old first gen iPods for the nostalgia.
^ SpecOps has an ‘mp3fy’ effect which is basically like a shortcut on what you mentioned. Sometimes those artifacts are perfect
When you know what is musical composition then your music will lift up by 1000%; of course you must don’t forget mixing/mastering
You can do this with any FFT plugin that offers spectral companding.its not exactly the same as Linear Prediction Codecs,but it’s similar in terms of the results.especially that watery quality that everybody seems to like these days from shitty,early lossy codecs.i’d imagine that is what "MP3ify"in Spec-Op’s is doing behind the scenes considering the whole plugin is based on an FFT
You can also just have another instance of Serum with the same MIDI and set it to just play a sine,match the phase of the other patch and then flip the polarity.it will cancel that fundamental completely or marginally depending how big a difference you create between it and the fundamental in the other sound.it has the bonus of actually cleanly killing the fundamental rather than the notch which introduces its own phase rotation so will never actually remove the fundamental if that is what you want.
fun > outcome
My advice; watch youtube videos and actually know what your doing. You can get much farther. The difference is like button mashing a Vs. Fight game and occasionally doing something cool (WHOAh, how did I…) to knowing what moves your going to pull in advance.
When you’re mixing a drum such as an electronic kickdrum, and you’re mixing it down with a compressor - use an EQ before the compressor to push some frequencies that benefit the sound to give it more drive - the compressor will keep the sound tame, use a final EQ after the compressor to reduce unneeded low or high frequencies.
How to make to choatic bass sequences work somewhat
Seperate hpf (high pass filter) automations and micro level sidechain to an element of the beat. Then glitch the bass sequence however you want. Plugins like gross beat or buffer over ride or whatever…Shit even sequence the bass samples in different time sigs and tempos. And then on a macro level sidechain the bass to kick and high pass filter the master at 10-20hz and compress according to taste.
Its a bit of trial and error because you have to combine randomly drawn automations with a synced lfo underneath a sequenced beat. Its gonna take a while to translate what’s in your head and its gonna take even more time to figure out which ideas are bad and which are good…so basically gotta fail alot in order to succeed.
Xy modulation or assign lfos to the phase shift and automate the phase of a waveform instant wierd textures.
I do this with phasers and ring mods in byome and triad all the time! I don’t know why, but just toying with the inbuilt X/Y pad instantly gets me into a flow state for crazier designs to come.
I think it is called Proximity how far you put your mic.
playing with the sample offset and sample looping settings of one shots to get funky rhythms and glitch effects.
Using ASIO4ALL in your audio workstation is a must.
Controlling randomization with the formula controller and using the xy pad for macros.
Not if you have an audio interface with proper ASIO drivers it aint.ASIO4ALL is trash unless you are for some reason stuck with a Realtek or Intel audio card
High pass your aux sends that have reverb effects on them to clean up low mid muddy buildup.
If you verb like I do (excessively) this is a big one!
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