The Hardware Megathread

#4411

Define this a bit further for me : ) not sure what you mean by “back and forth” ? – maybe that just means we are both working on it. how big of a sample pack? Is it a project I can pick away at over a longer period or something you’d want to get done ASAP/set a deadline?

At this point I’d probably be inclined to make some patches using my Mono Station and iPad apps because of how I’ve currently got my setup routed (and as I’m working on something else I don’t want to dismantle that).

I definitely don’t think I’ve got a collection of things I can easily gather up.

#4412

Definitely in love with the S2400 and it’s a welcome addition to my sampler-rich portfolio :smile: It makes me eager to have a bigger space since it takes up so much room, it just demands attention and has the capabilities to back it up. $20 64GB SD card is all I could ever need for this thing, I think; it’s not a Maschine+ with Expansions and Kontakt libraries installed. Once I learn it really well I can’t wait to pair it with Maschine, though. I think I could run it over USB, it’s class-compliant sound card according to Windows. As soon as I plugged it in Windows switched sound devices to the S2400.

Damn is it heavy XD The thing is a freaking tank. The pads are very nice. I’m glad I got the case, it’s a beast, too. I can’t think of anything I’d want to add to it right now other than maybe some digital effects. Word on the street is the DSP has a good amount of overhead left. A vinyl sim would be hilarious; I bet the SP lofi beat crowd would lose their shit over that lol :smiley:

Speaking of, people on the Isla forum asking for 16 voices and it’s like… dude you bought this thing knowing it had 8 voices and 8 outputs lol. One person even wanted 24-bit 96kHz audio XD

I’m happy with the capabilities of the machine right now. I think Isla is working on an internal DSP board to be added to the S2400. They’re working on something, I know that, I just forget what. A filter card? I wish I remembered.

I do wish the faders had a touch more resistance. They slide very, very freely. Oh well.

#4414

Im currently working on a set of beats to improv on top of my DJ sets. Ill start bouncing out stuff I think people could use. I do sample a lot from YouTube but Ill make sure anything like that is only stuff no one can ID or is mangled well lol.

I honestly dont make my own drum sounds usually though.

#4416

so I learned that the headphone out that I’ve been using is tied off the digital out so no filters on it. Which also means I won’t be using USB much since that kinda defeats part of the purpose of this thing for me :eyes: explains why I wasn’t hearing any changes using the filter effects lol :woman_facepalming:t2: (just the digital filter)

#4417

Yea, that’s cool. I’m trying to quickly get a lot of ideas down so I can see what works with the other songs I’ve been collecting recently. Seems like it’ll be a good use of A) the stuff that sounds good but doesn’t work with the other music, B) a good second use of the stuff that does work : )

#4419

I would not say no to some LFOs :eyes:

#4420

I would poke fun at you, but I use the LFOs in Izotope Iris (my sampler of choice) all the time.

#4421

there are some questionable choices made by Isla, though, for the S2400. Like, the “optimal” bit depth and sample rate is 16-bit 48kHz (the audio engine uses this) so it has to convert anything else like the ubiquitous 44.1kHz audio files we all have a ton of. They even admit this makes for some aliasing in lower frequencies in the manual. I suppose that’s just part of the charm of the device, now :smiley:

Basically a non-issue if you are sampling directly vs loading files from a sample pack off the card, of course. In practice I’ve pitched down a kick sample and didn’t notice anything, but again I’ve just been using the headphone jack. I may have to kick the Maschine+ off the desk and get this thing into the interface :eyes:

#4422

I’m pretty sure at least one of my samplers is supposed to want 48kHz audio and I juts mindlessly load whatever samples I want on it and let it convert. I haven’t noticed it makes a difference but then again I will sample shit directly of my phone from YouTube onto a sampler and use it.

All this high quality audio non sense is for people who eat dry toast and weak tea for lunch : )

#4423

lol I snag stuff off YouTube a lot. Usually single words and jumble them all together to make “lyrics” it’s pretty fun

fwiw I want artifacts anyway. artifacts are character. I just can’t figure out why 48kHz was what they went with, unless it has to do with math and being half of 96kHz or something. The lesser of evils, etc.

#4424

Fun fact: there is an optimal sample rate for reducing aliasing, jitter, quantization errors, etc. It’s about 65-70Khz. Show me anything that works at that sample rate.

There are high-quality ways to convert files to different sample rates/bit depths. I used to have a bit-accurate conversion software, meaning it only changes the bits it has to and leaves as much of the original sound as possible intact. Lost it like 5 years ago and can’t for the life of me remember what it was called. But I KNOW it exists damnit.

#4425

So true @relic I’ve been falling into that trap… I think it was a useful learning exercise for me… it does help clean up some mud… but then eventually you realize “well DUHHH!” if I didn’t have a Bass at all… that would clean up some mud as well…” eventually I’m realizing it’s not about “rolling off the low end” it’s about creating space and separation between instruments.

Edit: I’m not saying “I no longer roll off the low end…” I just listen and think about first… same with high end.

Recently! I’ve come to realize that human voices tend to share a certain midrange… boosting that range on any instrument helps it “speak”

Could be my imagination… but working for me lately.
Onward! :sunglasses:

#4426

I’ve been wanting to do a write my lyrics with one word stolen here and there method for a while. That’s cool.

As for audio quality, I see people in hardware forums screaming all the time if something doesn’t use the highest quality audio as possible and I"m just sitting there thinking “yea…but like…nothing you’ll use is at that sample rate lol”

#4427

Love the time stretching on the S2400

#4428

now, you know… in order for this to be qualified as “ghettotech” it needs to be running on 45 at +8 or so.

jussayin.

#4429

I was not actually aware of that. I use the term too loosely. Maybe its more Booty House, but it feels a little slow for that too. Let me say the track was inspired by that kind of music instead then : )

#4430

Thought some of you might get a kick out of this listing. I love how the seller’s opinion is that if you don’t like the paint job you should buy it anyway and spend more money on a new overlay or replacement faceplate lol

https://reverb.com/item/43789702-elektron-analog-rytm-mkii-2010s-gray?utm_source=facebook&utm_medium=ad&utm_campaign=23844832322250455&utm_content=23844832322780455&utm_term=Find+Everything+7.6

#4431

lol, it’s a bit of a joke.

A lot of records played around Detroit during a club/radio DJ’s “ghettotech” segment are actually house, ghetto house or Bmore Club joints played at 45rpm and pitched up.

Think Aaron Carl’s “Down”. Most folks I know have never heard it at it’s “normal” speed 'cause in the clubs around Tha D it was always played at 45rpm/+8

Same for Galaxy II Galaxy’s “Timeline”. If you were to play it at “normal” speed, most folks around Detroit would probably ask why you’re playing it so slow.

This is “Timeline” at it’s original speed.

and this is it at “ghettotech” speed, which is how you would hear it in the clubs or on the radio around Detroit:

There’s even a number of ghettotech tracks are given this treatment.

#4432

Very interesting! Thank you. I regularly attended DEMF before the pandemic and that is where I fell in love with this kind of music. I don’t know a ton about it so this is great. Maybe I’ll try pitching the track up and see how it sounds : )

#4433

I was still living in and around Detroit when it first started coming together in the early 90’s, and one of my old buddies/coworkers, Gary Chandler, really pushed the sound to where it is now with the way he mixed Miami Bass, Hip Hop, Detroit Techno, Technobass/Electro, and House together in his radio mix show. What I find really crazy is that most of the clubs are still playing that old stuff because there really hasn’t been a lot of new tech coming out lately.