I've found that modified Roland general midi sounds sampled on the Kaoss Pad 3 with some ambient field recordings of wind or birds or bugs or water or traffic or stuff can make some really deep dro)))nes...
I use a bunch of the stuff mentioned above and I have to agree that you need some kind of raw ass oscillator or two to really get it going...
Delay and Noise and Root Notes with 5ths is where it's at...
I have a saved room reverb setting on my Cathedral that is hugely resonant but not super long decay. So today on my bass I was plucking a rhythm on one note repeatedly. The sound had the pick attack to keep the rhythm there, but most of the sound was a shifting mass of verb. Then changing the note would change the resonant frequency, bringing the lowend in and out with a pseudo melody. Fun.
Also, everyone needs a Cathedral. Ambient/drone machine.
D.o.S. wrote:I'm fucking stupid and no one should operate under any other premise.
This might be a thing common to most delays, but if you turn the time down on a Disaster Transport Jr. far enough so it's juuuuust longer than the wanna-be reverb sound, and the repeats at near-infinite, it becomes overtone city.
http://www.youtube.com/watch?v=Louy7zH9guw
sonidero wrote:Roll a plus 13 for fire and with my immunity to wack I dodge the cough and pass a turn to chill and look at these rocks...
kbithecrowing wrote:Making out with my girl friday night, I couldn't stop thinking about flangers.
kbithecrowing wrote:I have a saved room reverb setting on my Cathedral that is hugely resonant but not super long decay. So today on my bass I was plucking a rhythm on one note repeatedly. The sound had the pick attack to keep the rhythm there, but most of the sound was a shifting mass of verb. Then changing the note would change the resonant frequency, bringing the lowend in and out with a pseudo melody. Fun.
Also, everyone needs a Cathedral. Ambient/drone machine.
Settings? I'd like to give that a shot with my Cathedral.
If you bring forth what is within you, what you bring forth will save you.
If you do not bring forth what is within you, what you do not bring forth will destroy you.
-The Gospel of Thomas
Knowing your own darkness is the best method for dealing with the darknesses of other people.
-Carl Jung
Achtane wrote:This might be a thing common to most delays, but if you turn the time down on a Disaster Transport Jr. far enough so it's juuuuust longer than the wanna-be reverb sound, and the repeats at near-infinite, it becomes overtone city.
kbithecrowing wrote:I have a saved room reverb setting on my Cathedral that is hugely resonant but not super long decay. So today on my bass I was plucking a rhythm on one note repeatedly. The sound had the pick attack to keep the rhythm there, but most of the sound was a shifting mass of verb. Then changing the note would change the resonant frequency, bringing the lowend in and out with a pseudo melody. Fun.
Also, everyone needs a Cathedral. Ambient/drone machine.
Settings? I'd like to give that a shot with my Cathedral.
I'll have to deconstruct it the next time I have a chance. I'll deconstruct my hall setting too cuz it's lovely. I need to write down all my presets in case it resets or breaks or something.
phantasmagorovich wrote:
Achtane wrote:This might be a thing common to most delays, but if you turn the time down on a Disaster Transport Jr. far enough so it's juuuuust longer than the wanna-be reverb sound, and the repeats at near-infinite, it becomes overtone city.
Best way to use digital Delay.
I concur, I never really understood why so many "post-rock" bands had digital delays on their boards until I found that application.
D.o.S. wrote:I'm fucking stupid and no one should operate under any other premise.
kbithecrowing wrote:I have a saved room reverb setting on my Cathedral that is hugely resonant but not super long decay. So today on my bass I was plucking a rhythm on one note repeatedly. The sound had the pick attack to keep the rhythm there, but most of the sound was a shifting mass of verb. Then changing the note would change the resonant frequency, bringing the lowend in and out with a pseudo melody. Fun.
Also, everyone needs a Cathedral. Ambient/drone machine.
Settings? I'd like to give that a shot with my Cathedral.
My room and hall presets are close to these, tweak to taste. Warning: these can get kinda crazy if you pump a lot of bass through it
Attachments
Cathedral - Room preset.jpg (150.46 KiB) Viewed 4728 times
Cathedral - Hall preset.jpg (158.91 KiB) Viewed 4728 times
D.o.S. wrote:I'm fucking stupid and no one should operate under any other premise.
If you bring forth what is within you, what you bring forth will save you.
If you do not bring forth what is within you, what you do not bring forth will destroy you.
-The Gospel of Thomas
Knowing your own darkness is the best method for dealing with the darknesses of other people.
-Carl Jung
We need to keep this thread going. I'm really serious about doing some collaborations with people if they're interested. Do some live, improvised recordings and other shit like that.
I've also been trying to think of less typical ways to do drone. I was thinking it would be cool if there was a looper that could randize playback or be sequenced...does this exist outside of connecting a laptop?
somebodies already mentioned an ebow? cause that can work wonders working the pitch and harmonics with with high gain and feedback, or without feedback.
louderthangod wrote:We need to keep this thread going.
[soundcloud]https://soundcloud.com/backened-soul/the-mountains-walk[/soundcloud] I love layering reverb and more reverb, oh and that is three tracks of fretless bass
One cool odd trick is what I did in the background of falling off of a cloud which is to use a fan blowing the strings of your instrument
That's kinda the theory behind one aspect of my double neck. If you're playing one neck particularly aggressively you'll get the strings on the other neck to resonate sympathetically. I got the idea when I was in this guitar store in Santa Monica. They have walls of really nice guitars in a narrow room with amps in the middle. If some plays fairly loud you can hear all of these cool sympathy resonances with the strings and even the bodies of the hollow bodies. It's like reverb but tuned and super cool. A studio should pick up a bunch of cheap acoustics and tune the strings to all sorts of crazy things and record them in amp rooms.
louderthangod wrote:That's kinda the theory behind one aspect of my double neck. If you're playing one neck particularly aggressively you'll get the strings on the other neck to resonate sympathetically. I got the idea when I was in this guitar store in Santa Monica. They have walls of really nice guitars in a narrow room with amps in the middle. If some plays fairly loud you can hear all of these cool sympathy resonances with the strings and even the bodies of the hollow bodies. It's like reverb but tuned and super cool. A studio should pick up a bunch of cheap acoustics and tune the strings to all sorts of crazy things and record them in amp rooms.
That's really cool. I agree on the acoustic thing, I use to have a classical guitar that would ring out very loudly to different tones, it was neat, but I never bothered to record it
I had a 70's 12 string up in the jam room a while back, it was in a stand in front of one of the cabs, we kept stopping wondering what the hell the extra noise was. That damn thing was resonating loud enough to be audible above 3 100 watt guitar amps and a peavey cl400/sunn concert bass rig. tuning that to be something that would add to a drone sound would be amazing. You guys have me thinking crazy thoughts now Might have to figure out an open tuning that works for it and set up a mic on it.
Band=InfiniteFluxFlux on Bandcamp
"Ingenuity comes in the face of adversity, and nobody ever becomes a legend by following the rules set by society" -A.A.
Might have to figure out an open tuning that works for it and set up a mic on it.