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resincum wrote:

oh fuck I am loving audiomulch

Gonna fuck with Audiomulch and some samples I have recorded tonight. Looks like what I'm looking for because trying to edit samples in Ableton just pisses me off

daseb wrote:has anyone messed around with audiomulch? I found that really intiuitive and nice to use.

I love Audiomulch. I use Reaper for arranging and Audiomulch for general fucking around. Very intuitive to use and it's an environment that works for me. I really don't get on with Ableton. I keep an old copy of Ableton 6 around with some of the plugins but it's not used often. Mulch is my doodle pad, fuck about with it, find something that works, record it, throw it into Reaper.

Recommended plugins? The free MeldaProductions pack. Tons of stuff in there and MVibrato is in constant use with me. Being able to draw your own waveshapes is a great feature. Also Melda's MMultibandgranular plugin is a must.

Reverb: Valhalla. Convolution reverbs are nice and clean but I find myself liking algo-based reverb a lot more. Shimmer and Vintageverb are a must for me and anyone into delays with multitaps needs Ubermod. At first glance Ubermod doesn't seem anythign special but the depth to it is superb.

TCStretch is another one that gets used a lot.

Well I was just about to subscribe to Max, but I think perhaps I have some AudioMulch research to do...

If you're looking for good reverb on the cheap I'd check out Variety of Sound's EpicVerb. Their NastyDLA Mk II is really great too for oscillating tape-like delays.

penelope tree wrote:Why is Ableton popular with ambient musicians?

I've used Logic for years—I love it and will continue to use it especially for more straightforward songwriting stuff, but I've recently been getting heavily into electronic shit. For that kind of thing, Ableton wins hands down. The nonlinear nature of the clip view completely changed everything for me. It's cool as hell to put together a "song" as a collection of clips, which you can then turn off and on in really infinite ways. I usually just lay a bunch of stuff out and it's pretty much a new song every time I play through it.

The stock plugins in Suite combined with Max for Live are PLENTY to get started with and make fucked up ambient drones to your heart's content.

Also, another thumbs up for Reaktor... it can be absolutely daunting as hell if you try to dive in building instruments from scratch, but there are thankfully shit-tons of cool instruments/devices already built by NI and users alike.

Anyway, so stoked to see a Tim Hecker thread on here! Also love Frost + Haxan, and will toss out Demdike Stare / Andy Stott / Millie + Andrea, Oneohtrix Point Never, Prurient, Shinichi Atobe, James Holden, and John Hopkins (a bit more melodic, but fucking unbelievable) as some of my faves that live in a similar dark ambient / techno world.

ughhh I love the haxan cloak. i shall die here is a masterpiece

so happy with how intuitive audiomulch is after I figure out how to trigger real time with my mic/guitar I will be in paradise




I always thought they were playing starcraft on stage or someshit.. I get it now!

well after reading all this I really want to have a crack at audiomulch

some people have mentioned an issue with Yosemite and it was apparently fuxed a week and a half ago but I just want to give it a little longer to make sure I'm in the clear.

resincum wrote:

ramonovski wrote:Gringos don't "pirate bay" much huh?

there's some kind of unspoken anti piracy thing around here..

lulz. my grrL is constantly amazed and.... ashamed? at me whenever i mention how much a piece of software i want costs. i don't mind pirated to try something. but if i dig it i want the stability of release versions and i want to support the people making it.

man I love Demdike Stare. Pye Corner Audio is another from that world I've been digging lately. I recorded some stuff trying to ape all that crap earlier this year but mostly just did it with iphone apps plugged into guitar pedals

Piracy is nothing but misplaced entitlement and subsequently bullshit.

i think i can help here.
i do an ambient/drone thing called, 'Beta Cloud', (hence my name here).

i'm using ableton live as my daw, (i use it like a mixing board, that's pretty much how it's set up and really easy to use). worth the cost for me as i've used it for many years and it has served me well.
so i will set up several channels in this 'mixing board'.
some have Native Instruments 'guitar rig' or IK Multimedia 'amplitube' or synth simulators like NI Absynth, (an amazing drone machine!), and some samples of stuff ranging from carl sagan talking about terraforming a planet, to old russian space program stuff, to patty hearse's abduction tape, to samples i make myself of emergency rooms, trains passing the tracks, drunk women on the subway, penn station at rush hour, whatever i want.
and you can time stretch, layer, loop, reverse, effect any channel you want to also.

so anyway, you can fade each track in and out, adjust any parameter, etc. with ableton using just the laptop, or an interface, (i use an akaiapc40 sometimes)-

it looks just like the main screen of ableton and reacts live and in time.


i have recorded and played several shows using just a laptop, (a macbook pro)-

a simple interface the size of a pack of cigarettes, (a guitar rig mobile)-

and either a guitar or synth. with a synth, (like my minibrute, all analog and fun to use simple drone synth)-


the synth route all fits in a backpack, with room for a large bag of doritos and a fifth of jim beam for the train ride. essentials of the road...
and i can take a train to NYC or Toronto or any where with this simple set up, very compact and simple.

with guitar, everything fits in a soft shell guitar case, found a body glove case that has room for the laptop. nice n easy-


so the way i do it...
i simply start with something basic, layer, add another track, layer, add another, manipulate, effect, reverse, layer... until i have a nice wash of sound that i like.

so if you want to examine my process further, (not that i think you should go the way i did, or that there is a right or wrong way at all- the beauty of experimental music is to make it personal, relevant, and fulfilling to YOU), here's some videos of me doing a gig in toronto a while back.
this is completely improvised live with no preset samples, using only the laptop, software, my gibson sg, and an ebow on some parts.
you'll notice i start simple with some minor melody guitar riffs and create some pretty big shoegaze washes of sound as it goes on.
the video was shot continuously in one large performance, but i had it sectioned into 5 parts to give the viewer/listener a perspective of the 'moods' reflected in the drone/drift.

https://www.youtube.com/watch?v=JodxKvKjxB4

https://www.youtube.com/watch?v=14nAlF8mMHY

https://www.youtube.com/watch?v=rvNqXEdF0X4

https://www.youtube.com/watch?v=tS8nkM4CNFs

https://www.youtube.com/watch?v=AjJTDlwNZWg

hope i've been helpful. this process for me was daunting at first and if i've helped you find your way to do ambient/drift stuff in my long winded answer, i'm glad to have helped.
good luck and DRONE ON!!!

Thanks for giving a kind of "live" perspective on it all dude! I wanna take my shit live and am fighting with the process a little....

God the idea of being able to do a show with just a backpack full of gear is SO APPEALING. Imagine being able to ride a bike to shows?!?!!!

Great post! I'm really digging the clips, and it's pretty cool to get information on working with this from a live perspective. I don't know if I could ditch my pedals for a completely computer based solution anymore, but it's certainly tempting.

rainlet wrote:Great post! I'm really digging the clips, and it's pretty cool to get information on working with this from a live perspective. I don't know if I could ditch my pedals for a completely computer based solution anymore, but it's certainly tempting.

Just keep them involved in your process! Probably more than a few ways, but the two that come immediately to mind would be to either use them in the process of recording clips that you'd then manipulate further in the DAW, or what sounds like more fun to me—patching them into your mixing signal path. I see the latter all the time... I'm sure everybody's got his or her particular way of doing it, but regardless it's a totally viable option.