ilovefuzz.com

I can't believe how well everything got summed up in the first page

only thing I'll add is that there's actually a solid range of sample glitch pedals now, partly made possible by the surprising mass popularity of the count to 5

oh, and sadly dr scientist is basically only on insta these days

Bartimaeus wrote:I can't believe how well everything got summed up in the first page

only thing I'll add is that there's actually a solid range of sample glitch pedals now, partly made possible by the surprising mass popularity of the count to 5

oh, and sadly dr scientist is basically only on insta these days

And they all cost about as much as a copy of Ableton Live.

$harkToootth wrote:

$harkToootth wrote:Okay @Adoom... I'm something of a 'thread' meteorologist/economist. This -> viewtopic.php?f=149&t=55536&start=195 is happening now, and is sort of the 'beginnings' of what a drama thread from 2017 would look like.

Looks like it's developing into a category 3. 2017 has been brought up. Time truly is a flat circle. You may think you're back on ILF... but you're in Carcosa!!!

I KNOW THE YELLOW KING!!!!

I am the falconer.

Inconuucl wrote:

Bartimaeus wrote:I can't believe how well everything got summed up in the first page

only thing I'll add is that there's actually a solid range of sample glitch pedals now, partly made possible by the surprising mass popularity of the count to 5

oh, and sadly dr scientist is basically only on insta these days

And they all cost about as much as a copy of Ableton Live.

lmao accurate

or as much as an audio interface, which usually comes with a free copy of ableton anyway haha

Bartimaeus wrote:

Inconuucl wrote:

Bartimaeus wrote:I can't believe how well everything got summed up in the first page

only thing I'll add is that there's actually a solid range of sample glitch pedals now, partly made possible by the surprising mass popularity of the count to 5

oh, and sadly dr scientist is basically only on insta these days

And they all cost about as much as a copy of Ableton Live.

lmao accurate

or as much as an audio interface, which usually comes with a free copy of ableton anyway haha

Push plus Ableton Live Standard is $1,418 Canadian. While if that offers exactly what a performer
needs/wants I can see that as being more economical than purchasing a bunch of pedals to do
largely the same thing. Except... buying piecemeal, even if more expensive in the long run, is
usually what is more feasible for musicians who seldom if ever have $1,418 all at once to put
towards instruments/tools.

Then there is the issue of planned obsolescence. If I have a computer-based rig... how long will
each component in that chain be usable? I struggled for years to get a complete, functional system
so that I could edit video on my computer. I had a Radius MotoDV on my old PowerMac with the
hope of being able to edit video and yet... the thing never worked without glitches (the wrong kind)
and finally each piece became obsolete and I never had a whole wallop of cash to get an entire
system that all worked together until I got an iMac.

With money spent on pedals or musical instruments there is at least a chance that some old
piece of gear is going to keep working. I have an Amdek PHK-100 Phaser that still works, and
an Ibanez DDL-10 that I've had for over 30 years and they still work.

Of course I'm coming to the point where I'm thinking that some sort of pedal order switcher
(like the Sound Sculpture Switchblade 8F or the Decible 11 Pedal Palette) might be a better
route to get the best out of the pedals I have instead of just buying more pedals.

The good thing about a physical pedal is tactile interface. I guess things like Push and Zoia
offer that to an extent. And some of the glitch/loop pedals seem to scream for MIDI, which
brings things to equal levels of complexity, price, and supplementary equipment required.

I don't know.

If my zoia breaks down the road I'll have a lot harder a time replacing it than if my install of ableton does.

Controllers like Push aside I don't count my computer as part of the cost because that's something I would need regardless. I paid about $600 for my suite license and it's given me a lot more mileage than the glitch and delay pedals it is taking the place on effects wise. Also not counting the whole DAW bit.

This of course omits the fact that I don't play live anymore and I'm not Ian Williams who can pull guitar and push at the same time. In well aware I'll jump back to pedals once I'm face with a gig.

Inconuucl wrote:If my zoia breaks down the road I'll have a lot harder a time replacing it than if my install of ableton does.

Controllers like Push aside I don't count my computer as part of the cost because that's something I would need regardless. I paid about $600 for my suite license and it's given me a lot more mileage than the glitch and delay pedals it is taking the place on effects wise. Also not counting the whole DAW bit.

I guess I do count the laptop and DAW as part of the cost because for me they are.
I had a MacBook Pro that had the graphics card soldered directly onto the motherboard
and the thing shit the bed and so for years I haven't had a laptop. I can definitely see
the benefit of Ableton Live if I had a functional laptop.

I know that some people drop $1,000 to $2,000 on amps all the time. But... I'm not one of
those people. If my amp, a Lab Series L7 that I bought used for $300 Canadian, breaks
down it will be feasible but painful to replace. But your point about what happens if
an expensive pedal breaks down is well taken. If I had an Empress Zoia ($675 Canadian)
and it broke down then it would be keeping company with my broken old MacBook Pro,
collecting dust.

Inconuucl wrote: This of course omits the fact that I don't play live anymore and I'm not Ian Williams who can pull guitar and push at the same time. In well aware I'll jump back to pedals once I'm face with a gig.

And this is also a fundamental point... some gear combos work for some people but not
for others. If playing live I'd prefer to do less stooping and twiddling with knobs and more
foot-magic with stomp switches and expression pedals as well as having pedals with
envelope-triggered effects so my feet can just keep me from falling over.

Oh Adoom... read the above... that sort of exchange/discourse is the new "Digital VS Analog" debate. It's now "hardware vs software". We're evolving.

I'm with Seance.

Where's DoS to praise our laptop overlords?

you don't need to splurge on a push though. you can get a focusrite interface for $100 and it comes with a free copy of ableton. with free plugins you can cop a lot of glitch sounds

goroth wrote:I'm with Seance.

Where's DoS to praise our laptop overlords?

. There are a few things where that the only reason to avoid computers is novelty. It's not always the case.

Well I also like writing with pen & paper or with a manual typewriter because
digital delete is just too powerful and allows any slight wavering doubt to destroy
without leaving a palimpsest of old thoughts to sift through at a later date.

Sometimes if I look at an old writing attempt the thing crossed out is the
thing worth keeping and the additions or redos are crap. Digital delete
erases all trace of various stages and strata of thought.

There's nothing on your laptop stopping you from finishing a draft, saving it, then creating a separate revision. Clippy isn't going to pop out of the screen and punch you in the nose.

D.o.S. wrote:There's nothing on your laptop stopping you from finishing a draft, saving it, then creating a separate revision. Clippy isn't going to pop out of the screen and punch you in the nose.

Right. And a piece of paper with ink on it allows you to instantly see all the various drafts all at once at a single glance.

… unless you accidentally knock over your ink bottle with your quill.