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selways

techno

saturdays

john

selway

343

tv

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foreign

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foreign

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foreign

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[Music]

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foreign

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foreign

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[Music]

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[Music]

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foreign

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[Music]

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what's up how's it going

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back after a little bit of a break a

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spring break

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slowly getting back into uh the regular

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routine

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I don't know what it is it's you know

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spring is springing it's

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pollen is blowing around maybe that's

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why I'm I don't know I've been sleepy

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I've felt sleepy like for the last few

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days and I'm guessing maybe it's just a

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little bit of that uh

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seasonal allergies I don't know if any

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of you guys have that problem

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but I'm feeling pretty mellow today

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[Music]

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so it won't be too crazy we're gonna

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have a nice mellow time that's what's

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gonna happen

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lie society's here Sean Hodgson acid bat

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orale

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Martin Crockett is asking for a track ID

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I'm guessing for the last one that's an

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old one on my CSN label

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it's called either remember or recollect

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depending on what record it's on

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I don't know if you if you look on my

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band camp it's called recollect

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uh yeah

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Let's see we got farning 81. on Twitch

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what's up

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we got DJ feo

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welcome back Netrunner is here

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World machines good evening some of you

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for some of you it's evening here it's

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afternoon

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we got Henry de Carvalho from Paris

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what's up and low res from London

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nice

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all right

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this track

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this is also an old track that was never

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released and I don't know why I think

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that needs to change

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[Music]

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nice after hoursy kind of groove or a

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daytime summertime cruise maybe what do

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you think should I put it out

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[Music]

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just listen to that for a minute before

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we Dive In

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all right

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Deep chords that's right

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hey Mac first time tuning in glad you're

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stoked glad to have you

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all right Buck tank down on the Lower

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East Side hey hey

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yes New York is just exploding in Poland

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at least I can breathe

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let's get to it

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welcome everybody

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it's John Sully here it's always techno

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Saturdays

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on 343 TV brought to you by 343 Labs

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music production School in New York City

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in Berlin and all over the world online

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I don't know what it is there's

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something I'm feeling really out of it

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today being a little bit silly and a

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little bit dazed

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so you know

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we're warming we're warming back up into

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into like I said coming out of a break I

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had an interesting break

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I got back together with uh

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my band I was in a Ska band ska and rock

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and honking Funk and soul and this and

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that

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called I Spy

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really uh really unique name for a

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really unusual name for a Ska band

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wouldn't you say so yeah we had a good

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time we played a couple of days

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and wrote a couple of new songs believe

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it or not so musically I've been a

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completely different Universe for the

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last several days and getting back into

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thinking about making techno it's

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definitely a switch like I've had a

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switch in my brain going from like chord

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progressions and song structures and

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playing in a band and like getting all

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the parts right

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then back to the computer it's a

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different way of thinking

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so yeah

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that's the sort of thing that kind of

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comes up sometimes when in classes that

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we teach here at three three four three

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Labs how'd you like that for a segue

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right going from my little story into

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making a into my Spiel but uh

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yeah

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um

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We Do music production in general

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whether using Ableton Live or logic

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General I think that's usually what

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we're focusing on

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um and synthesis and sound design I do

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we've got music theory

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songwriting

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and um

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we're starting up a year-long program

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now I don't know

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you know it's kind of a new thing it's a

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little deeper than what we've been doing

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before

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and uh you know starting in the fall

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and we're going to have kind of a a more

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comprehensive program for those of you

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who really want to dive in and do this

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for real so

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I'll have more there's already info

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about that on our website take a look at

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that you know we have all the links

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below

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um in the description as usual

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but uh yeah just something to think

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about I won't go to go on too much about

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it you know as as it's developing you

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know we'll have more and more details

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but you can get started looking on our

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website to see what we have and you can

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kind of like register your interest and

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maybe like you know uh send us an email

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or find out more

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in in that respect man I'm telling you

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I am definitely still somehow waking up

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even though we're starting a little

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later today

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let's make some of that music John

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Selway yes that's right Sean Hodson

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and uh who else is in here any any other

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new names in here no it looks like

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uh looks like everybody here is already

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been here

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all right I think you know what I need

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to do I'm gonna stop yammering on

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and

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um switch over into music mode and what

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I'm playing with today

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is

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phase plant

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you know I've had face plant for a while

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I bought it

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and I don't use it that much and I don't

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you know I I it's maybe just out of

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habit you know I use a lot of the

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arturia stuff I use pigments it's like

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kind of my main modern synth

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um but I haven't done too much with face

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plant uh but since they just recently

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announced their new granular uh

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module or whatever they call it

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I thought hey let's check that out let's

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see how that compares to you know what I

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usually use for granular with with

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pigments so

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and uh I also was thinking about wanting

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to do something deeper and minimal and

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very hypnotic and very Spacey and I feel

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like granular

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synthesis is a good

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you know it's a good synthesis method to

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to do that kind of thing

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so that's exactly where we're starting

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today

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let's see what we got

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Sean Hodson says FaZe plant never heard

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of that this one yeah phase plants like

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it's funny like that I feel like a lot

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of the people who use faceplant are not

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making techno so much

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when I see tutorials for faceplant on

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YouTube there's a lot of really like

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aggressive crazy wobbly intense you know

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whatever but of course a good synth can

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do anything right any it's not a genre

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specific

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um but it does seem to be a little it

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doesn't seem to be too common with

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techno I could be wrong but I think it's

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a little bit less common with techno and

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I but whatever you know it's a really

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amazing powerful it's like a synthesis

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and sound designers

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uh instrument

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um

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let's look at it a little bit more

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closely

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so I mean this is just from default

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actually let's load up another one so I

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don't mess up the sound that I've been

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working on

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but um

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you know when you first load it up it's

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empty

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it's a bit daunting right like if you

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load up phase plant you've got

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generators

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generators that's what they call it

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modules

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in pigments it has engines right has two

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engines and each engine can be different

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types of synthesizers whether it's

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analog subtractive or its wave table or

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it's a sampler granular synth

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or the harmonic additive engine that it

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has

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face plant though you open it up and

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it's just empty right so

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um

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now of course there's presets

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lots and lots and lots of good presets

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um but yeah it when you first load it up

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there's nothing there so I could I feel

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like if you're a beginner that might be

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a little bit daunting but it's actually

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it's pretty cool

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and you know you hover over one of these

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sections generators that's going to make

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sound

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or control the amplitude of sound say

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like at the output with an envelope

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um you've also got some effects in there

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and then we have our modulators on the

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bottom

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shape and I like the way they have it

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organized once you get in there and look

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at it you're like all right shapes that

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makes sense envelopes and lfos are the

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shapes that main shapes

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things that we use to shape the sound

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right

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midi expression inputs Auto you could

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has an audio follower there's a lot of

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really good utility in here right

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then we have three lanes of effects so

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you can do and that's another really big

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part of phase plants overall thing is

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just you could just go crazy with

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effects and all of course everything can

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be modulated right

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so yeah

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but like I said you know I haven't used

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it that much

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but if I you know if I wanted to make a

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sound I'd say all right

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I'm going to do an analog base or

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something or load up a sample or do a

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wave table thing you load up a generator

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[Music]

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right and you know as soon as you load

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up a generator gives you an amp envelope

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for that and then and then you you kind

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of have to think and like kind of like

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in modular synthesis you got to think

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about signal flow in order to get things

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going if there's no filter here

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I don't want to turn this into a whole

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lesson on how to use phase plant

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there's plenty of other videos out there

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that'll do a more comprehensive job of

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that

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um the way I usually learn about using

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new instruments is just to start making

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music with them and not get too into

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like I'll just figure out things as I go

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all right so that's phase plant

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um

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and I'm investigating the granular

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okay

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new granular element here God why keep a

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generator the granular generator let's

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hear what I've got

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and you know literally I just dragged in

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semi-random a sample actually let's hear

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what the sample sounds like

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uh let's see if I can find that again

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it's called droplets something from some

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folder here

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there it is

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I'm not sure that you hear that let's

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make sure you've got the Q out set up

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so that you can hear that and I'm going

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to turn up my volume a little bit so I

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can hear what I'm doing

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right so I thought that was kind of cool

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usually for you know for granular

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synthesis hey enough usually for

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granular synthesis you want to have a

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sound that has some variation in tone

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so this has got this nice kind of clean

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percussive uh

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notes but then it also has some noise

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and Reverb in it and it has also has a

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bit of a pitch modulation it's got that

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kind of drop effect

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so even in a short sound like that

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there's a lot of variation in the

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granular engine to be subtle and to find

00:19:07

little tiny changes to work with all

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right so that's that's that's where I

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started and then I was thinking you know

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I wanted something kind of techno chord

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stabs right

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um

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put in a minor third and then you know

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it's

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you can hear there's a syncopated rhythm

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in there already but that's actually all

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coming from

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most of that is coming from the granular

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engine

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let me just actually change this it's so

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it's normally you're using granular

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you're hearing stuff like this right

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you're hearing these little grains

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repeating

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right that's a very granular right

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I like that

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I like how this interface looks I like

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how the grains look they did a good job

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animating what's happening to the grains

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it's not just showing you where and when

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the grains are but it's showing you like

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the shape and amplitude and every other

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things it's pretty cool

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yeah good job on the interface

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definitely yeah future world machine

00:20:23

says Nifty graphics

00:20:26

thank you

00:20:30

okay

00:20:32

so that's something you have the green

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envelope here like each grain that we're

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hearing that's repeating has a length

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and a shape and that's what's determined

00:20:39

here by this milliseconds next to grain

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envelope so I'm not making them shorter

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it's more percussive

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can have more sustain actually I have

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it's sort of set up now like an attack

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whole Decay

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and I have a little bit of a longer

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attack so

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it doesn't you can hear when it's

00:21:05

noisier

00:21:06

when it's at the attack is at zero we're

00:21:09

hearing like that artifact being created

00:21:12

by the amplitude going from zero to full

00:21:14

suddenly so I'm smoothing it out a

00:21:16

little bit so it doesn't click each time

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although you might want that sometimes

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right

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there's a little bit of pitch modulation

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which sort of you know every time a

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grain plays it's just randomly

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modulating the pitch up and down a

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little bit and this is all basic

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granular stuff that you'd see on any

00:21:35

granular

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uh

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synthesizer granule engine there's also

00:21:41

random panning right now I just put it

00:21:42

to zero everything's in the middle but

00:21:44

as I increase that panning amount you'll

00:21:46

start hearing those greens Bounce Around

00:21:47

left to right

00:21:50

and then also all as I'm moving the

00:21:53

grain position around so you hear

00:21:54

different parts of that sample there's a

00:21:55

little blip at the beginning that's

00:21:56

crazy like there's a lot you can do just

00:21:58

with this one little sound right just

00:22:00

moving it around it's like

00:22:02

it's almost like three or four different

00:22:04

sounds within that one sample

00:22:06

[Music]

00:22:08

and the grains are all starting from

00:22:12

the position

00:22:14

and then randomly playing later from

00:22:17

there if I randomize the position you'll

00:22:19

start to hear

00:22:21

a mix of different sections different

00:22:23

greens from different sections all right

00:22:25

so again this is all like pretty basic

00:22:28

granular stuff

00:22:31

that most granulosins can do

00:22:36

all right

00:22:38

so and this I was I was very happy to

00:22:41

see that in addition to this the typical

00:22:43

kind of randomizing uh not randomizing

00:22:46

but doing grains sort of in hertz but

00:22:48

like in very small amounts you can also

00:22:50

do note length values and time like have

00:22:52

synchronized grains so I'm using it to

00:22:54

do kind of a chopped up thing and I've

00:22:56

done this in pigments before

00:22:58

so that's giving me kind of an echo-like

00:23:00

effect

00:23:05

Sean Watson is asking if that is able to

00:23:07

be automated by an LFO and yeah

00:23:09

everything in this synth can be almost

00:23:11

everything can be modulated I'm assuming

00:23:14

are you asking Sean about uh

00:23:16

uh the grain position the grain position

00:23:20

can definitely be automated or modulated

00:23:23

[Music]

00:23:30

so if I wanted to do that I could take

00:23:32

an LFO

00:23:35

all right

00:23:36

and uh I'm gonna turn off the note

00:23:39

trigger so that it goes

00:23:42

continuously it's not syncing every time

00:23:44

I play a midi note

00:23:46

slow that down a lot

00:23:50

and then let's click on that

00:23:52

orange plus there and then click the

00:23:55

Plus on the position

00:23:58

and then increase the amount of

00:23:59

modulation and yes

00:24:03

[Music]

00:24:04

you can absolutely

00:24:06

[Music]

00:24:12

modulate the position of that

00:24:16

[Music]

00:24:18

with the LFO

00:24:21

[Music]

00:24:24

move that back a little bit

00:24:26

I like the interface for setting the

00:24:28

range of modulation coming out of the

00:24:30

LFO it's doing unipolar now it's

00:24:32

starting at zero and going positive and

00:24:35

then going back to zero

00:24:37

and that works really well in this

00:24:39

situation because it's zero is the start

00:24:41

point

00:24:42

and so then you can easily set the range

00:24:44

going from zero to as far as you want it

00:24:46

to go

00:24:49

let's get a beat on this

00:24:53

oh I think we're solo yep

00:24:58

there we go

00:25:00

[Music]

00:25:09

all right so I like this

00:25:12

I'm gonna ease up on that

00:25:15

automation I mean that modulation of the

00:25:17

position a little bit I want to keep it

00:25:18

more tonal a little less noisy right now

00:25:20

[Music]

00:25:24

nice to have a little bit of it coming

00:25:25

in though

00:25:30

if I wanted these to be a little Fuller

00:25:31

I can

00:25:33

increase the length of the amplitude you

00:25:36

know the peak of that grain envelope

00:25:39

also increase the length of the

00:25:40

[Music]

00:25:43

k

00:25:44

[Music]

00:25:48

if I increase the randomness of the

00:25:50

position

00:25:53

it's almost a little bit too much noise

00:25:55

right now

00:26:01

stop back

00:26:05

so another thing that can happen

00:26:07

[Music]

00:26:09

and this is also similar to what I like

00:26:11

about pigment's granular engine is and

00:26:14

actually all the pitch modulation in in

00:26:16

pigments is that you can quantize it

00:26:19

they do it to a scale right and here you

00:26:23

can uh

00:26:24

when you modulate the pitch of the

00:26:26

grains it will you can modulate you can

00:26:30

quantize the grains to a cord so it's a

00:26:32

little bit different

00:26:34

so I've got that on

00:26:37

and right now the range is at zero so

00:26:39

we're not hearing it let's increase the

00:26:41

range and hear what happens

00:26:42

[Music]

00:26:48

just with that one thing that's like a

00:26:52

new section in my track because it

00:26:54

starts like this

00:26:56

[Music]

00:26:58

I've got the tone changing because the

00:27:01

position is modulating a little bit or

00:27:02

randomizing a little bit

00:27:05

[Music]

00:27:06

let's say I wanted this to be more

00:27:07

percussive let's see I'm gonna have

00:27:12

shorter decay

00:27:20

all right now and then I bring that

00:27:22

range amount up

00:27:29

I'm good with that

00:27:33

[Music]

00:27:35

so right now it's just jumping up

00:27:36

octaves I believe but it's all staying

00:27:39

in a in a chord the major

00:27:43

chord and I don't know what key I'm in I

00:27:45

don't know what note that sample is I

00:27:46

don't know if this is C or what I'm just

00:27:48

following my ears

00:27:51

let's throw in a hi-hat

00:27:53

[Music]

00:28:03

so I find that you know using the grain

00:28:06

engine

00:28:08

like this I mean it depends on the

00:28:09

sample sort of how loud it can get but

00:28:12

generally we're only hearing a couple of

00:28:15

grains at a time we're not hearing like

00:28:16

a lot of grains stacked on top of each

00:28:18

other

00:28:19

and it's usually the case with granular

00:28:21

synthesis that it'll kind of be soft and

00:28:24

then you add lots of grains and it gets

00:28:25

very loud right so in this case it's

00:28:27

kind of soft because we're only hearing

00:28:28

a couple of grains that are kind of

00:28:30

cycling around at these that are synced

00:28:33

to 3 16 or 3 16 notes right

00:28:37

um

00:28:38

so I've got a

00:28:39

I I wanted it to sound a little louder

00:28:41

and a little brighter so I've got a

00:28:43

distortion on there

00:28:45

and like that's actually how loud it is

00:28:48

without just coming straight out of the

00:28:50

of of the

00:28:54

of the granular

00:28:58

let's turn that up a little bit

00:29:01

yeah and I think they have the gain set

00:29:03

low on purpose because it lots of grains

00:29:06

start to get loud

00:29:07

[Music]

00:29:09

right so just using some Distortion to

00:29:11

punch that up a little bit

00:29:12

and then

00:29:14

[Music]

00:29:16

presser to kind of get it popping a

00:29:18

little bit

00:29:20

hopefully the volume is okay out there

00:29:21

for you guys you can hear me all right

00:29:23

[Music]

00:29:32

let's play around with the uh

00:29:35

[Music]

00:29:43

yeah you can hear when sometimes in the

00:29:45

position goes to the very beginning with

00:29:47

a little water droplet pitch modulation

00:29:49

it is it gets a little bit intense and

00:29:51

that's that's one of the reasons I have

00:29:53

that compressor on there with a pretty

00:29:55

fast attack it's set to Peak compression

00:29:57

so I want to kind of grab that

00:30:03

there's also

00:30:05

there's a limiter

00:30:08

because it does get a little too sharp

00:30:10

sometimes

00:30:11

[Music]

00:30:19

it gets pretty intense

00:30:24

I bring the release or sorry the grain

00:30:25

of a little longer speaking of release

00:30:29

I'm just you can hear when I let go and

00:30:31

I stop you know there's a long release

00:30:33

on the amp envelope

00:30:36

and if I just you know it when what's

00:30:38

happening is when I'm playing those

00:30:39

different chord notes and go uh they're

00:30:41

overlapping so it's adding extra uh

00:30:44

layers

00:30:48

if I bring the release down

00:30:51

now you're not hearing the overlapping

00:30:52

as much between the different chords

00:30:54

that I'm playing

00:30:56

but if I increase the release again

00:31:05

it gets more complex the lower notes and

00:31:08

the higher notes are all kind of

00:31:10

overlapping

00:31:13

a little bit too blippy sometimes let's

00:31:17

increase the attack time on the grain

00:31:19

envelope smooth that out a little bit

00:31:30

foreign

00:31:37

I'm going to bring that position down a

00:31:38

little bit

00:31:45

bringing the grain envelope back a

00:31:47

little bit

00:31:48

let's hear our songs a little bit more

00:31:51

range on the cord pitch modulation

00:31:58

[Music]

00:32:01

just that tiny change is like another

00:32:03

section of my track I love it I'm

00:32:04

keeping this really really simple I'm

00:32:06

not gonna I don't think I want to layer

00:32:08

too much

00:32:09

[Music]

00:32:12

let's hear how this sounds with some

00:32:14

more uh effects

00:32:19

as if it isn't it already sounds like

00:32:20

it's got delays that it's those

00:32:22

individual synced grains but I have

00:32:25

another

00:32:28

more dubby typical kind of echoey

00:32:31

feedback delay going on

00:32:48

[Music]

00:32:49

maybe a bit much

00:32:53

foreign

00:32:55

[Music]

00:32:58

so it's repeating less of the low

00:33:01

frequencies it's cleaning it up a little

00:33:02

bit

00:33:04

[Music]

00:33:12

might be a little bit much on the

00:33:14

limiting

00:33:16

let's hear how it sounds also with the

00:33:17

Reverb

00:33:20

I was kind of going back and forth

00:33:22

[Music]

00:33:23

thinking the delay was a little bit too

00:33:25

much

00:33:28

but just a simple dark Reverb also kind

00:33:31

of works well a little cleaner

00:33:33

[Music]

00:33:37

maybe I'll just bring the mix back on

00:33:38

the delay a little bit

00:33:40

[Music]

00:33:41

I have some brighter hi-hats to bring

00:33:44

the energy level up from here

00:33:54

what kind of music is this I don't know

00:33:56

tell me

00:33:59

we know what kind of music it is

00:34:01

we know exactly what it is

00:34:05

foreign

00:34:11

little changes make such a huge

00:34:13

difference in how it feels I mean that's

00:34:15

just what you listen for when you make

00:34:16

techno like this

00:34:29

bring that range up again

00:34:34

I feel like this could be the whole

00:34:35

track [Music]

00:34:44

all right I also added a flanger

00:34:50

I'm on the fence about this one

00:34:53

[Music]

00:34:56

I really like the way they animate the

00:35:00

effects of the modulation in Phase plan

00:35:03

it looks really cool

00:35:07

[Music]

00:35:12

every now and then I look at a parameter

00:35:14

I'm like what's scroll

00:35:17

they do a pretty good job of they have a

00:35:19

little tool tip like a little

00:35:21

description in the on the bottom left

00:35:22

every time

00:35:24

[Music]

00:35:26

so this the scroll is enables the phase

00:35:29

offset and motion functions of the

00:35:31

effect

00:35:34

and I'm not sure what that does but it

00:35:36

sounds cool

00:35:41

all right I need another hi-hat

00:35:47

I want just a upbeat

00:35:54

[Music]

00:35:57

foreign

00:36:00

there it is

00:36:02

it's just bread and butter

00:36:05

909 hi-hat

00:36:07

why not no need to go any deeper than

00:36:11

that I'll put some effects on it though

00:36:16

I like to play around with velocities a

00:36:18

little bit so they're not exactly the

00:36:20

same I don't know it sort of bounces

00:36:38

I really do like using multiple layers

00:36:40

of hi-hats and high frequency percussion

00:36:43

even if it's real like quiet in the

00:36:46

background like the way it is now right

00:36:47

we've got this louder

00:36:48

[Music]

00:36:49

909 hi-hat and then in the background

00:36:52

just almost like a shaker

00:36:54

[Music]

00:37:14

automating that range

00:37:15

[Music]

00:37:19

in a phase plant you know there's so

00:37:21

many parameters

00:37:25

so pretty much most of them don't have

00:37:27

automation Lanes already so you just

00:37:29

choose like if I want to automate the

00:37:31

range with Ableton

00:37:34

I would uh right click on that or I

00:37:37

think

00:37:40

what is it

00:37:42

yeah it's right click and then assign to

00:37:46

automation slot

00:37:49

let's just do I don't know slot one

00:37:54

and then that should be

00:37:59

now that that's assigned I should be

00:38:01

able to yeah there it is I put it into

00:38:03

configure here

00:38:05

and then just selected that parameter

00:38:07

and now I have

00:38:08

[Music]

00:38:16

it's very sensitive

00:38:20

whoo

00:38:24

what else do I need what else no I'm

00:38:26

serious what else do I need

00:38:28

[Music]

00:38:39

I could have just assigned that to a

00:38:41

macro in Phase plant and then scaled it

00:38:43

if I didn't want it to go all the way up

00:38:46

I probably I'm not ever going to go like

00:38:48

that high

00:38:54

or maybe I will I don't know we'll just

00:38:57

leave it

00:39:01

foreign

00:39:10

what should we do to this hi-hat to make

00:39:12

it more interesting

00:39:15

hmm what kind of effect let's do

00:39:20

oh well I'm using a flanger I could and

00:39:23

I'm using delays I could use more of

00:39:25

that

00:39:28

but uh any any delay with uh an LFO

00:39:32

yeah let's do that

00:39:34

let's let's do overkill for this hi-hat

00:39:40

all right so

00:39:42

I'm going to take it out of sync

00:39:49

and make it into a flanger

00:39:56

all right changing the offsets it's just

00:39:58

a little bit left and right or just a

00:40:00

little bit offset a very slow rate on

00:40:03

the LFO

00:40:06

let's do uh oh that's a good idea let's

00:40:09

do a 90 degree or 180

00:40:13

pitch you're gonna hear like a rising

00:40:15

effect it's gonna hear you're going to

00:40:17

hear that comb filtering from the delay

00:40:20

right

00:40:21

start rising up

00:40:35

let's see if that works

00:40:36

[Music]

00:40:50

that's trippy

00:41:01

I told you it was going to be mellow and

00:41:03

kind of deep today

00:41:04

[Music]

00:41:12

I kind of want to hear even more delay

00:41:13

on that

00:41:15

would that be a mistake

00:41:17

I'm gonna compress it

00:41:21

why I don't know

00:41:23

decompression

00:41:28

maybe not I'm not going to do the makeup

00:41:30

let's see

00:41:32

[Music]

00:41:40

kind of it's somehow like softening it

00:41:42

up a little bit

00:41:53

and you know the pitch of that

00:41:56

that sort of it's like a lower frequency

00:42:00

almost sounds fuzzy like a Sawtooth wave

00:42:02

in a way [Music]

00:42:08

that was accidentally awesome

00:42:10

[Music]

00:42:14

basically this is Car Plus strong

00:42:17

physical modeling going on with this

00:42:20

hi-hat

00:42:21

[Music]

00:42:26

let's play with the filter on in the

00:42:28

feedback

00:42:36

now the feedback's totally taken over

00:42:38

[Music]

00:42:39

this is not granular in the phase plan

00:42:42

anymore obviously

00:42:46

[Music]

00:42:49

go back and play with phase plant

00:42:53

[Music]

00:43:01

man I'm getting so lost in this

00:43:07

let's ease up on that feedback

00:43:11

bring some low frequencies in again we

00:43:13

get less of that howling in the mids

00:43:19

[Music]

00:43:27

here's our break

00:43:32

maybe I just need a I mean would it be

00:43:34

cheating just to put Reverb on

00:43:35

everything

00:43:36

[Music]

00:43:43

I feel like that's cheating I need

00:43:45

something cooler than that

00:43:49

[Music]

00:43:57

foreign

00:44:01

[Music]

00:44:06

not loving that it's okay

00:44:11

let's see what the

00:44:13

this is doing maybe it's just too much

00:44:15

feedback

00:44:17

[Music]

00:44:27

it's like I gotta figure okay we're

00:44:28

gonna stop there I'm starting to get

00:44:30

caught up

00:44:31

in those effects

00:44:33

which I think actually you want to do

00:44:36

you want to do that

00:44:39

when you're making music like this you

00:44:41

want to get caught up in that atmosphere

00:44:42

in the space

00:44:45

and how deep and far out it goes

00:44:48

it won't shut up

00:44:51

all right let's get rid of that feedback

00:44:53

how is everybody doing

00:44:55

a little bit past the halfway point

00:44:57

today

00:45:00

I warned you at the top this is going to

00:45:01

be mellow and it was going to be

00:45:04

yeah and we we went out there just now

00:45:08

there's some deep exploration into into

00:45:10

something

00:45:13

let's see what you guys are talking

00:45:15

about let's look for some new names in

00:45:17

the chat or at least some names that I

00:45:18

don't see as often

00:45:20

071 decompression thank you very much

00:45:25

love this channel I really appreciate

00:45:27

that and you are absolutely welcome I

00:45:30

love it I love doing it

00:45:31

we got blur

00:45:33

we got Jan kalinovsky

00:45:36

Master farce theater I think you've been

00:45:39

here before haven't you

00:45:40

yes I'm in my zen mode and with this

00:45:43

stuff I'm just like

00:45:45

getting lost in the sauce

00:45:48

Antonio Velazquez maybe some more

00:45:51

triplet delay yeah more delays I'm fine

00:45:54

with that

00:45:56

totally

00:45:59

we got a request from bucktank for a

00:46:01

phaser on the hi-hats do we need a clap

00:46:04

on the two and four Master farce theater

00:46:06

asks now this isn't I feel like a clap

00:46:09

on the two of and four is always a major

00:46:11

decision when you're making techno

00:46:14

because for me

00:46:16

um if depending on the groove and

00:46:19

depending on the sounds you're using a

00:46:21

clap can make it feel like you're

00:46:23

slowing down it can make it feel like

00:46:25

it's laid back

00:46:27

so or a snare on the two and four or

00:46:29

anything on the two and four it kind of

00:46:31

breaks up the groove so you know

00:46:33

listening to

00:46:36

let's put that kick drum back in there

00:46:39

I'm gonna get rid of the very

00:46:40

distracting

00:46:42

hi-hat for a second which is more than a

00:46:45

hi-hat now because of that effect

00:46:49

all right let's put in a

00:46:50

[Music]

00:46:52

I mean a typical clap probably won't be

00:46:56

exactly what I would go for

00:46:59

in this case

00:47:01

[Music]

00:47:03

all right there's some like Loops in

00:47:05

here

00:47:07

[Music]

00:47:09

I feel like if I if I was gonna use one

00:47:11

I'd want it to be very tight and not too

00:47:14

loud right

00:47:16

and again it doesn't have to be a clap

00:47:19

it could be a snare it could be

00:47:20

something [Music]

00:47:26

you definitely need to be not too loud

00:47:31

[Music]

00:47:32

it's a taste thing

00:47:35

[Music]

00:47:39

because I'm feeling like

00:47:42

it kind of interrupts

00:47:45

what I like about it the kind of rolling

00:47:47

off beat thing going on

00:47:52

like I'd probably rather it

00:47:55

be off too

00:47:57

[Music]

00:47:58

and that sounds like it's wrong

00:48:01

but sometimes wrong is right

00:48:02

[Music]

00:48:14

it's dangerous it kind of making me want

00:48:16

to put in more notes

00:48:22

thank you

00:48:26

it's kind of

00:48:28

yeah so

00:48:31

I like something like that better than

00:48:34

just a straight

00:48:36

[Music]

00:48:38

two and four

00:48:40

or if maybe the two and four would be a

00:48:42

different

00:48:43

sound

00:48:45

[Music]

00:48:47

like some kind of weird little blip or

00:48:50

bleep or something let's do that well

00:48:53

see look at that one question got me

00:48:54

back in the zone

00:48:55

we're supposed to be taking a break

00:49:00

what else are you guys talking about

00:49:03

Master farce theater maybe a more static

00:49:06

sounding clap like the one in Closer by

00:49:08

Nine Inch Nails

00:49:10

I don't remember what that clap sounds

00:49:12

like actually I'm gonna have to go back

00:49:13

and listen to it

00:49:15

lores says no clap may be a ride oh I'm

00:49:18

all about that we all know I think if

00:49:20

we're already making music like this we

00:49:22

probably are listening to a lot of music

00:49:23

like this ride symbols get a lot of uh

00:49:27

play in techno it's like a it always

00:49:29

works just to put this Shiny Bright

00:49:31

percussion on top of everything

00:49:36

says too much clap

00:49:38

too much clap

00:49:41

[Music]

00:49:45

just because you said that I'm gonna put

00:49:47

even more

00:49:48

I'm gonna overdo it

00:49:50

I'm gonna distort it

00:49:53

[Music]

00:49:54

I'm gonna totally go nuts on this clap

00:49:58

[Music]

00:50:07

I'm gonna put on uh

00:50:09

I'm gonna do something funny with a

00:50:10

filter how about that I don't even know

00:50:12

why I'm doing this

00:50:14

just to spite you

00:50:15

[Music]

00:50:22

Auto filter has this funny thing where

00:50:25

it'll when you modulate the filter

00:50:26

frequency it'll quantize to a note

00:50:28

length

00:50:29

[Music]

00:50:43

do you hear it it's going listen to it

00:50:45

by itself

00:50:51

with that filter frequency as it

00:50:53

modulates up and down

00:50:57

we'll hear it even more if I like all

00:51:01

right I'm gonna put a vocoder after this

00:51:04

why to give it noise

00:51:12

anyway here it's stepping up and down

00:51:13

right so

00:51:16

yeah when you put this quantize on as

00:51:18

you modulate up and down even if it's

00:51:19

not synced it'll jump

00:51:24

between the 16th note or two 16th notes

00:51:27

or three

00:51:32

if I offset the phase we're going to

00:51:34

hear different

00:51:36

it almost sounds random but it's not

00:51:39

[Applause]

00:51:43

what have I done

00:51:46

[Applause]

00:51:51

sometimes you'll hear a click when it

00:51:52

goes from a low to high frequency all of

00:51:54

a sudden

00:51:58

[Applause]

00:52:01

I really didn't mean for this to happen

00:52:03

I'm sorry

00:52:11

I kind of want to still if I were to do

00:52:13

this

00:52:14

I'm going to put these together in a

00:52:18

chain

00:52:20

and do that all wet and then give myself

00:52:22

some dry clap to mix in with it

00:52:26

all right

00:52:33

[Music]

00:52:35

probably I don't even do this probably

00:52:37

is too much

00:52:38

[Music]

00:52:48

thank you what is happening

00:52:51

[Music]

00:53:01

sounds good with more delay on it

00:53:04

is that even a clap anymore it's just

00:53:05

like rhythmic crazy noise now right

00:53:10

[Music]

00:53:18

playing with the four minutes is

00:53:20

Shifting the bands up and down

00:53:24

[Music]

00:53:30

yeah it's not just a clap anymore

00:53:33

[Music]

00:53:35

I was gonna find something to try to put

00:53:36

on the two and the four

00:53:37

[Music]

00:53:38

let's go back to the main screen because

00:53:40

I seem to have just gotten completely

00:53:42

lost in it again

00:53:43

[Music]

00:53:47

maybe something like a

00:53:49

[Music]

00:53:52

zap I don't know

00:53:55

something Snappy

00:53:59

I feel like I need that phase plant

00:54:01

needs to change a little bit

00:54:02

[Music]

00:54:06

bringing that open as a closed hi-hat

00:54:08

again [Music]

00:54:11

I'm gonna get rid of that feedback for

00:54:13

now [Music]

00:54:17

turn down the noisy clap thing

00:54:21

make that a layer in the background

00:54:26

now what was I looking for

00:54:27

[Music]

00:54:33

seems to be missing some samples

00:54:42

there we go

00:54:44

[Music]

00:54:46

I don't want to go into these Alchemy

00:54:48

sounds that I like so much into the uh

00:54:51

percussion into the pops

00:54:57

these are a little dinky but

00:55:00

foreign

00:55:04

something maybe that'll work

00:55:07

something like that as on the two and

00:55:10

four just going back to that original

00:55:11

idea

00:55:14

nah too Hollow

00:55:18

to Woody

00:55:27

try that one

00:55:29

[Music]

00:55:32

so yeah anyway just going back to the

00:55:34

idea of like a two and two and the four

00:55:36

like being accented

00:55:38

On the Groove like this it couldn't be

00:55:41

big it would have to be

00:55:43

[Music]

00:55:49

then

00:55:52

just on the floor would be okay

00:55:56

let's get rid of that crazy clap thing

00:55:57

that is a bit much

00:56:00

[Music]

00:56:10

I might put like a Reverb on this just

00:56:13

make it

00:56:16

let's see

00:56:19

[Music]

00:56:32

ing it out

00:56:39

[Music]

00:56:49

what if it was sometimes offbeat and

00:56:52

sometimes on

00:56:55

[Music]

00:56:59

Maybe

00:57:00

[Music]

00:57:03

I still want everything to be offbeat in

00:57:05

this track

00:57:06

[Music]

00:57:08

one or the other

00:57:09

[Music]

00:57:17

thank you

00:57:19

let's go back over to phase plan for a

00:57:21

little bit

00:57:26

how will it sound now that we've added

00:57:28

some other elements how will it sound

00:57:29

when I play around with this more

00:57:31

[Music]

00:57:35

foreign

00:57:36

[Music]

00:57:47

I like how it sounds when it's the tail

00:57:49

of it when it's quieter

00:57:51

and noisy

00:57:53

in the middle I don't love how much it

00:57:55

sounds it's like a little too much

00:57:58

and then this I like

00:58:00

but maybe if I go shorter on the decay

00:58:04

the grain envelope

00:58:07

more percussive

00:58:15

and move it around just right that works

00:58:17

a little bit better

00:58:19

gonna have my work cut out for me

00:58:20

automating if I if I finish arranging

00:58:22

this ever

00:58:23

[Music]

00:58:35

yeah I gotta watch it with the noise on

00:58:37

that don't we

00:58:43

okay

00:58:48

I'm going to take another pause

00:58:52

it's always techno Saturday

00:58:55

I told you it was going to be a chill

00:58:56

one and that's what's happening getting

00:58:58

deep into these weird little granular

00:59:01

sounds and playing around with the

00:59:03

effects on the percussion and trying to

00:59:06

keep it simple it's already starting to

00:59:08

get more complicated with the effects

00:59:11

and a lot of things happening at once

00:59:13

and in a way like how it was sounding

00:59:15

earlier

00:59:16

with less was I was enjoying it more and

00:59:20

I think that's going to be you know

00:59:21

that's that's always the battle is like

00:59:23

when when when to know when it's too

00:59:25

much with this kind of music where it's

00:59:27

kind of minimal and hypnotic you really

00:59:30

want to be careful I think

00:59:33

and you know I'm already wondering

00:59:35

should I add another element to use in

00:59:38

the arrangement or just keep it really

00:59:40

stripped down and drums in this one

00:59:42

sound but like a lower frequency element

00:59:45

or a more kind of a pad or something

00:59:48

ambient to kind of add space or or a

00:59:52

drone or something

00:59:54

and uh

00:59:57

wow you guys are having all sorts of

00:59:59

crazy ideas in the chat here

01:00:02

Jan likes the tight clap

01:00:05

thanks Jan and Event Horizon welcome

01:00:07

from South Korea glad to have you here

01:00:10

Kenneth mcclend's ratchet the clap no I

01:00:13

don't think we're gonna ratchet in this

01:00:14

one I mean at least now maybe maybe I

01:00:18

don't know

01:00:19

loraz is saying yeah

01:00:21

no more channels of stuff I reckon just

01:00:25

automation over time yeah and I think I

01:00:28

have enough

01:00:29

that I could go in and like do kind of a

01:00:32

rough arrangement

01:00:34

and uh and then I do this all the time

01:00:38

actually this is I've done this on the

01:00:40

stream before where I'll I'll record in

01:00:43

real time kind of a live

01:00:46

Arrangement where I just bring stuff in

01:00:49

and play around with the parameters you

01:00:52

know automating whatever over a few

01:00:54

minutes and then I'll go back and I'll

01:00:55

go all right get some ideas for the but

01:00:59

the the structure and then if if I you

01:01:01

know I'll know when I need some to put

01:01:03

in something right it's easier to know

01:01:05

when you have kind of a a rough

01:01:07

structure to fill in

01:01:10

um so yeah I don't have to think of it

01:01:14

all up front

01:01:16

um that said just to cap it off

01:01:19

I'm gonna try to find an interesting

01:01:23

sample and do something different with

01:01:26

phase plan and we'll just see

01:01:29

if it you know keeping with the concept

01:01:32

of using granular today and checking out

01:01:34

the new uh

01:01:36

granular capabilities of phase plant

01:01:39

let's bring in another one

01:01:42

and see what we can do

01:01:45

and there's so many different ways you

01:01:46

could go like I could do another kind of

01:01:48

rhythmic shopping thing like that or I

01:01:50

could do something more like tonal and

01:01:52

sustained and play notes

01:01:55

um

01:01:57

no guarantees this is going to work but

01:01:59

we'll see

01:02:01

Sean Hodson is saying maybe in two weeks

01:02:03

you could arrange this

01:02:05

well yeah

01:02:08

that's a good idea

01:02:11

let's do that next time I I

01:02:14

I'll come back and we'll uh we'll

01:02:17

actually make this into something

01:02:18

but for right now

01:02:20

let's see if we can't find an

01:02:22

interesting sample to throw in Phase

01:02:25

plant and then we'll wrap things up for

01:02:27

today

01:02:28

so you know what one thing I wanted to

01:02:30

check this is a thing that bothers me

01:02:33

with pigments and also with contact

01:02:35

Native Instruments sampler is

01:02:39

and all right pigments is supposed to

01:02:41

work with wav files and AF files but a

01:02:43

lot of the times when I bring in an aif

01:02:45

file

01:02:46

it gives me an error

01:02:48

and contact just won't load up aif files

01:02:52

you have to put in a WAV file as far as

01:02:54

I've experienced

01:02:56

but I forgot to check will faceplant

01:02:59

just read any sample regardless of its

01:03:02

format like can you even I wonder can

01:03:04

you drop uh

01:03:06

an MP3 in there I mean that's that's

01:03:08

asking for a lot but

01:03:11

let's see

01:03:13

we do something weird and noisy like

01:03:15

granularizing some kind of effect or

01:03:18

drum sound or something

01:03:22

whoa

01:03:25

[Music]

01:03:26

that sounds awesome

01:03:29

[Music]

01:03:33

all right that it's like noisy but it

01:03:36

has like a pretty cord in it at the same

01:03:38

time I don't know if that's gonna work

01:03:39

here the granular thing might just kill

01:03:42

it but

01:03:43

and this is a WAV file all right I know

01:03:46

it'll load up a WAV file

01:03:49

um

01:03:50

a lot of the samples in okay here's an

01:03:53

aif file let's

01:03:57

thank you

01:04:01

what just happened

01:04:02

undo

01:04:04

oh I accidentally double clicked on it

01:04:08

see did you see that

01:04:11

I it's the same problem

01:04:13

I drag in an aif file and nothing why

01:04:16

why is this a problem

01:04:19

why are multiple plug-in Samplers in

01:04:22

granular since unable to load up an aif

01:04:24

file somebody tell me it's such a pain

01:04:27

it happens all the time in class I'm

01:04:28

like you have to take your aif convert

01:04:30

it into a wave and then drag the wave

01:04:32

into phase plane can I just say this

01:04:34

to all of the developers out there can

01:04:37

you fix that please all right enough

01:04:40

let's go back to the the cool

01:04:45

ah granular oh you know what I just made

01:04:48

a fool of myself I forgot to load up the

01:04:50

engine first okay I take that back face

01:04:53

plant I take that back

01:04:55

um

01:04:57

and let's try that AF file again and

01:04:59

then I will I still have the beef with

01:05:02

uh arturia and Native though all right

01:05:06

no look at this I don't take it back it

01:05:09

will not load up the aif file that is

01:05:11

just killing me all right

01:05:13

there okay wave file Works aif doesn't

01:05:17

all right

01:05:19

I feel like we should edit this part out

01:05:21

of the video after it's archived

01:05:26

and all right last thing let's hear how

01:05:28

it sounds this sounds like

01:05:30

in the granular engine

01:05:36

right so you know the other sound I did

01:05:38

a little work on at first here this is

01:05:39

just the first thing that happens

01:05:45

right so we're hearing a lot of grains

01:05:47

or a bunch of grains

01:05:49

four grains actually

01:05:54

foreign

01:05:57

when it's not moving you're hearing them

01:06:00

it sounds like you're just looping right

01:06:02

you it's got this kind of phasey thing

01:06:04

going on but when you move it then

01:06:05

you're hearing different parts of the

01:06:06

sample of something smoother

01:06:09

if I bring

01:06:11

randomize the position then you get

01:06:13

that

01:06:15

variation and smoothness again let's up

01:06:18

the grains on this

01:06:21

gonna get louder and go up to 30.

01:06:24

[Music]

01:06:26

it's my CPU the more grains you use the

01:06:28

more

01:06:31

[Music]

01:06:42

all right and I've done this you know

01:06:44

granular synthesis is really great to

01:06:46

make like a pad or a drone out of

01:06:48

anything right that's exactly what's

01:06:50

Happening Here

01:06:53

some uh

01:06:55

reverses

01:06:58

and that'll give it some subtle sort of

01:06:59

swells back and forth you can do panning

01:07:04

[Music]

01:07:06

little bit of pitch modulation

01:07:16

see what

01:07:18

what timing does

01:07:24

that's pretty much going to make shorter

01:07:26

longer grains

01:07:32

ease up on the reversing a little bit

01:07:42

all right and then I feel like I need to

01:07:43

filter this from here on in I'm just

01:07:45

going to think about it as a subtractive

01:07:47

sound

01:07:53

[Music]

01:07:55

uh uh into

01:08:00

man

01:08:04

you know what I'm not gonna mess with

01:08:06

this guys today because it's after two

01:08:10

we'll pick up with this another time

01:08:14

we'll forget that second sound let's

01:08:15

leave with a little bit of music and so

01:08:17

next next time not two weeks from now

01:08:19

probably maybe next time we'll come back

01:08:21

and start arranging this

01:08:25

foreign

01:08:28

[Music]

01:08:31

thanks everybody

01:08:32

[Music]

01:08:38

I feel like it was uh maybe not the best

01:08:40

way to end of the show but thanks for

01:08:42

hanging out and uh

01:08:44

going along for the ride with me as I

01:08:46

got a little weird and deep with the

01:08:47

granular uh capabilities of phase plant

01:08:51

and exploring phase plant a little bit

01:08:52

and you know this was like me

01:08:54

experimenting and you know using a

01:08:57

plug-in that I don't use often and I

01:08:58

need to use more

01:09:01

um seems like it got a good start of the

01:09:03

track got some good comments from you

01:09:05

guys so thanks very much and yeah we'll

01:09:07

finish it we'll take this into the

01:09:09

arrangement and that's something that

01:09:11

needs to happen more I think on the show

01:09:13

is finishing tracks right

01:09:15

um

01:09:16

I've done that a few times with

01:09:17

Christian he was on recently where we're

01:09:19

like taking an old track and kind of re

01:09:21

remixing it re-balancing it to kind of

01:09:24

Polish It Off

01:09:25

so

01:09:27

glad you all

01:09:30

we're hanging out today

01:09:31

um

01:09:33

I'm gonna let you know now I may be

01:09:35

doing some more Tuesdays

01:09:37

right I've been thinking about

01:09:39

alternating let's see what you guys

01:09:41

think about this I know that they're

01:09:42

people that can't come in on Saturday

01:09:43

can't hang out on Saturdays so

01:09:45

maybe like a Tuesday every now and then

01:09:47

would be good we can do a techno Tuesday

01:09:48

in addition to the Saturdays so that may

01:09:52

be happening

01:09:53

I'm also just you know thinking about

01:09:54

the summer time coming up and schedule

01:09:56

changes and stuff like that so just keep

01:09:58

your eyes out for that I've got some

01:10:00

guests lined up soon right when I have

01:10:04

everything confirmed I'll announce who's

01:10:06

coming we definitely need to do a techno

01:10:08

feedback session uh the last the lecture

01:10:12

session with with Carl was so great and

01:10:14

you know I definitely want to keep that

01:10:16

going having different artists coming on

01:10:17

to hang out and listen to your stuff so

01:10:20

I will announce that soon as well

01:10:22

and again you know just to remind

01:10:24

everybody that we're uh starting the the

01:10:27

new year-long program here at 343 Labs

01:10:29

so uh check out the links below go to

01:10:33

our website and

01:10:35

a nice thing about this year-long

01:10:37

program is that it's either location you

01:10:40

could be in Berlin and take it you could

01:10:41

be in New York you can take it and

01:10:43

online and even go back and forth so if

01:10:45

you're traveling right you could sign up

01:10:48

for the year-long program do part of it

01:10:49

in New York part of it in Berlin some of

01:10:51

it online if you're away right it'll all

01:10:52

the way the scheduling is going to be

01:10:54

crazy but the scheduling is going to

01:10:55

work out so that we can do that

01:10:57

so yeah you could start in the in the US

01:11:01

and then maybe you know in the summer

01:11:02

you want to go travel go to Berlin live

01:11:03

the Techno life and continue the

01:11:05

year-long course while you're there so

01:11:07

just something to think about check us

01:11:08

out in the links below join the Discord

01:11:10

if you haven't and that's it for today

01:11:12

I'll see you guys next week

01:11:15

adios

01:11:16

[Music]

01:12:10

foreign

01:12:11

[Music]

01:13:15

[Music]

01:13:25

so

01:13:26

[Music]

01:13:28

please

01:13:30

[Music]

01:14:12

thank you

01:14:15

[Music]

01:14:42

foreign

01:14:44

[Music]

01:15:14

foreign

01:15:15

[Music]

01:15:50

thank you

01:15:51

foreign

01:15:54

[Music]

Description:

343 Labs is one of the world’s leading Ableton-Certified music production communities, with courses in New York, Berlin, and Online. ►JOIN THE 343 LABS ONE-YEAR PROGRAM: https://www.343labs.com/one-year-program/ 343 Labs is one of the world’s leading Ableton-Certified music production communities, with courses in New York, Berlin, and Online. —————————-------------- ►COURSES NYC and Online: https://www.343labs.com/ Berlin: https://343labs.de/ 343 Pro Sessions: https://pro.343labs.com/ —————————---------------- ►FOLLOW ON SOCIAL MEDIA: YouTube: https://www.youtube.com/channel/UC4x8XyyOBeyrb9ht164QlCw?sub_confirmation=1 Discord: https://discord.com/invite/uh4vQJam3U Instagram: https://www.facebook.com/unsupportedbrowser Facebook: https://www.facebook.com/unsupportedbrowser Twitter: https://twitter.com/343labs ——————————————————

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